Joni Mitchell — Don Juan’s Reckless Daughter

★★★★✰

   One of songwriters and great folk-rock singers who reached great worldwide fame as performing artist is representative of great Canadian American tradition, bright stage personality and guitarist Joni Mitchell. She is famous as singer and well known as performer, but her creative effort in songwriting was on the first place from the very beginning. With strong roots in folk and folk rock, she was close to jazz scene as well. She started as songwriter and folk clubs singer in sixties, her debut album Song to a Seagull was produced by David Crosby and released in March 1968 by Reprise label. She was author of all songs, singer, played guitar and piano in all accompaniments and designed album cover. Bass guitarist Stephen Stills played only one song but became her constant coworker and playing much more on her next albums. Releasing every year new album in five years she became an icon of folk rock.
   Shortly after Mitchell’s first folk rock records reach commercial success, she started to widen stylistic attitude. Consequently, her name was increasingly falling into category of jazz vocalists. It’s interesting process she was keeping the same position towards popular ballad and narrative poetry of rock songs changing only some elements of her musical style. In early seventies it was still somehow risky idea to get against actual trends. Folk rock albums made her famous, so experiments with other styles could eventually cost her losing some of her fans. So, she was moving to folk and jazz crossover in a mild way, adding more and more interesting musicians, and staying herself the same artistic personality. She was recording and touring with super league of jazz musicians. As time goes by she had considerably more listeners on jazz and some other ambitious genres of rock and pop music, but she was still associated with folk rock.
   After the end of Vietnam war in seventies, with social change driven by economic crisis, many artists were searching for new solutions of art representation as a space for culture discourse. This perspective was perfect for continuing some trends popular in sixties. Renewed ideas were consumed as backward wave of folk music. Joni Mitchell as many others was still on top of popularity. It really didn’t matter how innovative she was and how far her new songs were behind borders of the style, she was still considered as folk singer. Like she was intending to confirm this stereotype, in many performances she was still a singer with a guitar, or even a bard with natural vocal technique and nice melodies. Sometimes it had to be a real challenge to reach it in such natural way, and many of her project were stylized to fulfill this idea. This tendency was present in live performances while not clearly visible in Mitchell’s studio recordings, where she was more ambitious on intellectual and artistic level.

Joni Mitchell — Don Juan’s Reckless Daughter (1977)

  
   One of her best works, published in December 1977 double LP album Don Juan’s Reckless Daughter was also the one scandalously underestimated. Recorded for Asylum label in London, New York and Hollywood with huge group of musicians and various arrangements. Definitely, most significant element besides of Joni Mitchell’s voice and guitars was sound of Jaco Pastorius’ fretless bass. As a sideman he gave this music electrifying power of jazz phrasing, finding perfect balance with leader’s voice. In late seventies his sound was iconic element of Weather Report sound. Musicians from this band were saxophonist Wayne Shorter, percussionists Manolo Badrena, and Alex Acuña. Others were also known for their contribution in fusion jazz guitarist Larry Carlton, percussionist Airto Moreira, movie music composer, pianist Michel Colombier, lead singer from funk band Rufus Chaka Khan and drummer John Guerin known from early Frank Zappa’s albums.
   Restricted use of jazz idioms on Don Juan’s Reckless Daughter was visionary. It sounded like jazz moved back to it’s popular music roots. Even in simple songs, for example in Jericho, where Jaco Pastorius bass and Joni Mitchell’s guitar with drums by John Guerin and bongos by Don Alias create thick and intensive instrumental layer. In this fabric soprano sax by Wayne Shorter is so discrete and colorful as it sounds like just extra sound dimension. This corresponds with unusual melody, full of unexpected changes, based on irregular, free verse poetry. It gives a mind-blowing effect. In opposite example Paprika Plains we receive expanded composition spanning whole side B of first LP. Similar group of musicians (except absence of congas and Joni Mitchell plays piano) and symphony orchestra orchestrated by Michael Gibbs gives this composition solid formal frame. Even final jazz solo by Wayne Shorter runs with the whole composition like a cadenza. The other side of musical experience are The Tenth World and Dreamland, both featuring essentially percussion band. For experimenting with styles, balancing ambitious musical creations with intense poetry this album deserves four stars. I am giving four and a half for personal input of Jaco Pastorius – this is one of his best accomplishments.

Flora Purim and Airto Moreira — The Magicians

★★★★

   In the years of fusion and jazz rock explosion some new trends and styles were seen as next stage of modern jazz with new melodic and rhythmic idioms, new sound and different formal solutions. Those were the times when popularity was not in contradiction with ambitions and number of copies sold was not the measure of quality. Those years names of Flora Purim and Airto Moreira were definitely at the top of jazz celebrities’. They were playing and singing with many greatest artists. Later this popularity helped them to achieve good position in jazz and to continue their careers with smooth jazz. In their discography many records are made with greatest artists of last half of the century, but best known part of their catalogue are mutual recordings signed by both or by one of them.
   Observing habits and social values in artistic circles one can find interesting feature connecting jazz rather with classical music than with rock or more popular genres. Jazz musicians often play with members of their families while rock musicians in most cases were separated musical career and their families, sometimes even hiding family life out of fans sight. No such politics in jazz. Flora Purim and Airto Moreira, the two Brasilian jazz musicians are probably most famous marriage in the history of jazz, although marriages of jazz artists were quite common since early jazz and through all later decades. They were active long before their US debut, but their international fame begins with groundbreaking recordings with revolutionary electric Miles Davis band (Moreira) and with Chick Corea’s Return to Forever (Moreira and Purim). Contribution to artistic qualities of these bands and to whole fusion style was proportional to their fame.

Flora Purim and Airto Moreira — The Magicians (1986)

   Most albums Flora Purim and Airto Moreira (or just Airto) have ever recorded, they were doing together. Many issues were signed mutually by both or they were taking part in each other’s projects. Optimistic, light mood was a kind of original temper in their early works in eighties became main movement in smooth jazz. One of their popular releases of these years was The Magicians album. It was recorded in March and April 1986 at Les Gonk Studios in Los Angeles, Santa Barbara Studios in Santa Barbara and Fantasy Studios in Berkeley. Flora Purim once again confirmed she was number one vocalist of fusion jazz era. Melodious phrase, deep and subtle voice, wide spectrum of expression means with some fusion electronic modifications, everything natural and tasty. In the title song main vocal was recorded by Airto Moreira, who once again occurred to be quite competent singer. This song opening the second side of the album is new version of classic Airto’s song written by Egberto Gismondi and Airto Moreira and published on 1975 album Identity.
   In 1986 everything was softer and easier. It is striking even if quite understandable – times have changed and music has to fit. Nine relaxing songs covering span between Latin jazz and funky, mainly in samba and bossa rhythms, with perfect solos of keyboardists George Duke, Marcos Silva and Kei Akagi, guitarists Ricardo Peixoto, Larry Ness, David Zeiher, Jeff Elliott on trumpet. Whole list of performers was much longer including drummers supporting Moreira, Celso Alberti and Tony Moreno, four bass players Gary Brown, Bob Harrison, Keith Jones and Randy Tico, vocalist Kenny Loggins, trombonists Daniel Reagan and Rolando Gingras. Featured position had saxophonist Mary Fettig. She played some great solos on tenor, alto and soprano saxes. The sound of this San Francisco born saxophonist, perfection of phrase and construction of solos made Mary Fettig third hero of this album. Four stars to avoid frustration of underestimating good crossover between smooth jazz and popular music.

Chick Corea – Return to Forever

★★★★★

   In 1972 ECM Records published new album of Chick Corea – Return to Forever. Partners of the leader were vocalist Flora Purim, saxophonist Joe Ferrell, bassist Stanley Clarke and percussionist Airto Moreira. The new jazz band took its name from the title of the album and shortly became one of best recognized ensembles of fusion jazz. Releasing of this record was one of groundbreaking moments in history of jazz. The unpretentional cover is showing lonely bird flying over the sea surface. It was like an opening of the new space – everything in this album was fresh, open and promising. When ECM published Chick Corea’s album Return to Forever it was 22nd album in catalogue of this small and ambitious label. And Chick Corea has brought a sizeable contribution into production of early ECM label. In 1971 Manfred Eicher’s recording company published Corea’s solo Piano Improvisations vol. 1, album A.R.C. by trio Corea, Holland and Altschul and double LP Paris Concert of Circle. Next year ECM published two albums by Chick Corea: Piano Improvisations vol. 2 and Return to Forever.
   The breaking moment of Chick Corea’s career was in the beginning of the seventies. He was ready to start the whole new idea of fusion, connected to Mexican folk music and Latin trends in American rock. In the moment of creating the new band, called after the title of first album, Return to Forever, Corea was involved in new project where he was composing for Stan Getz. This moment was connected to the history of ECM as well. The rest is the great story of contemporary jazz, famous jazz-rock band and the company established and run by Manfred Eicher. In fact this early Return to Forever survived only first year and shortly was replaced by the new band with Corea and Clarke as only musicians common to both line-ups. Manfred Eicher’s ECM became most famous recording company in European jazz. The name of the company was abbreviation of Edition of Contemporary Music and simplicity was the hallmark. Jazz, world music and contemporary music were main directions. And in Corea’s recordings all directions, jazz, world music and the contemporary music were linked.

Chick Corea – Return to Forever (1972)

   The moment was special. Even if it looked like only two days of session enough to create the whole new idea of jazz fusion. Tendency was already visible, after Miles Davis’ In a Silent Way and Bitches Brew, jazz was wide open for new crossover idea giving the possibility of joining jazz, rock and elements of various traditions. Chick Corea has prior experiences playing with Miles Davis recording above-mentioned albums as well as Water Babies (recorded in 1968 and released 1976), Filles de Kilimanjaro and some live gigs edited later and also known from records like Black Beauty – Life at the Fillmore West or Miles Davis at Fillmore – Life at the Fillmore East. In 1970 he started work with avant-garde group Circle with Anthony Braxton, Dave Holland and Barry Altschul recording for ECM Records.
   In February 2nd and 3rd in 1972, at A&R Studios in New York City had met Chick Corea, bass player Stanley Clarke and percussionist Airto Moreira. They had already plans of recording session for Stan Getz new album Captain Marvel, where Corea was composer. For his new band Corea invited Moreira’s wife Flora Purim and Joe Farrell, saxophonist who’s first two albums Corea was involved as composer and pianist. These five musicians created band of legendary sound. Although they recorded only two albums, in various lineups they were working in future Corea’s bands and many elements of this experience influenced next productions. A lot of space between notes, light vocal themes perfectly performed by phenomenal Flora Purim, rhythmic intensity of Latin motifs, all in this album works for its historic position. Chick Corea as the author of whole concept and all four compositions was undoubtedly the hero of this project. He decided to start the band and the band was one of most famous bands in history. And the record is full five of five stars tray, just must have for every self-respecting jazz listener.

Chick Corea – Tap Step

★★★★

   Born in late sixties from modal jazz and harsh rock sound, in the seventies jazz rock was evolved from early sound experiments and rhythmic patterns to firmly conventionalized set of means creating whole new vocabulary of jazz. First were derived from the sixties idea of fusion between totally different worlds of musical sensitivity. Last was the collection of sound and rhythmic patterns presented on albums and concerts of dozens of performers. One of musicians who took part in jazz rock revolutionary forms of jazz-rock was Chick Corea. But he was too much creative to reside in style losing its creative momentum. In 1978 Corea had disbanded Return to Forever, but still working with its musicians he was experimenting with various line-ups and forms.
   Chick Corea was searching for best possible vehicles for his musical ideas. He always was creative, but this moment was the moment of almost complete creative freedom. No matter it was the time of Return to Forever, his Elektric Band or Akoustic Band, he was working on solo albums, various duets, jazz combos or bands with various musicians, even some recordings with symphonic orchestra and repertoire of purely classical music. The same year, in 1978 he published three great albums made with extended personnel (The Mad Hatter, Secret Agent, Friends) and double live album with Herbie Hancock In Concert. Next year he released three albums (one solo, and two in duets) and in 1980 five albums (two live recordings). These albums as well as disbanding Return to Forever can be seen as effects of Corea’s explorations. 

Chick Corea – Tap Step (1980)

   One of most significant tendencies in Chick Corea’s creative history were his experiments with various line-ups after Return to Forever. And Tap Step album was project characteristic for this period. And it was not understand by many critics, what was also typical for the moment. The open idea of this album shows various attitudes, from dance music to modal jazz and back to rhythmic and melodic diversity. It was published in 1980, two years after what was then considered as artist’s extreme activity. Variety of musicians and arrangements suggests album could be a compilation of different recordings, but nothing of the kind was happened here. Recording sessions took place in Love Castle Studio in Los Angeles between December 1979 and January 1980. Those, who looking for jazz solo players, shouldn’t be disappointed. Joe Farrell’s tenor and soprano saxes are part of sound specific for this period. Hubert Laws on flute and Joe Henderson on tenor saxophone and Also Al Vizzutti on trumpets and flugelhorns made strong appearance.
   Album is just bursting with ideas. Main contrast lies between rhythmicity and melodiousness. The title speaks for itself. As samba rhythms and cover photo of pianist with surdo drum show, percussion was the main part of featured band. Four drummers Airto Moreira, Laudir Oliveira, Tom Brechtlein and Don Alias are appearing in different settings. In The Slide Chick Corea played with all four percussionists and two bassists Bunny Brunel and Jamie Faunt and this track is undeniably rhythmic culmination of the album. Rhodes electric piano with its percussive sound emphasizes this effect. In opening Samba L.A. four vocalists Flora Purim, Gayle Moran, Shelby Flint and Nani Villa Brunel create main line of musical crowd. Lyrical and narrative soprano by Gayle Moran gives The Embrace power remembered from My Spanish Heart and The Mad Hatter. Beautiful title track Tap Step is so fresh in sound we can forget it’s quite traditional in its construction. Solos by Al Vizzutti and Joe Farrell are just perfect. Just as acoustic piano solo by Corea in Magic Carpet or his Rhodes piano and Moog synthesizer solos in The Slide. For these solos and for synergic teaming of all musicians this album is worth much more than in reviews repeated without listening. These four stars counts as a masterpiece.

Chick Corea & Return To Forever – Light as a Feather

   The Return To Forever was Chick Corea’s main project in seventies. Music he made with this band claimed an international recognition, and as style of the group was crossover, the new public was much wider than prior jazz-only auditorium. In span of few years Return To Forever became one of most successful brands in jazz and in a way in new world music. This was the era of new ideas breaking frontiers of styles and genres. Return To Forever along with Weather Report and Mahavishnu Orchestra were synonymous of the fusion jazz and jazz-rock, opening jazz for listeners of progressive rock, psychedelic rock and even some kinds of artistic pop music.

   Second album by Chick Corea and Return To Forever has been recorded in October and released one month later in November 1972. This time the cover indicated distinctly the name of the band and album title – Light as a Feather. Title of this album was taken from song composed by Stanley Clarke to Flora Purim’s lyrics. All other songs were composed by Chick Corea, two of them with lyrics by Neville Potter. While the first record was released in Europe by the ECM and it was not available at this time in the U.S. Thus Light as a Feather published by Polydor was still entirely new vision of fusion music. For many listeners it was actually the American debut of the band. And as it turned out, it was also the last album Return To Forever recorded with this lineup.

Chick Corea & Return To Forever – Light as a Feather (1972)

   Return To Forever was the band changing constantly. The first lineup of Return To Forever was active for the short period of time only. And according to many it was most succesfull as it had greatest artistic achievements. In fact it was the group of great personalities. Bright star was Flora Purim, born in Rio de Janeiro, singing with perfectly clear voice and instrumental precision. Starting international career with Return To Forever she became quickly number one singer of the seventies. And Light as a Feather was her great gig. In many fragments she sings without words in unison with Chick Corea’s electric piano phrases or with flute themes played by Joe Farrell. 

   The flute played by Joe Farrell was perfect match for electric piano so on first Return To Forever Farrell was switching only to soprano saxophone. Here he played with tenor saxophone and his sound is as warm as light. Stanley Clarke who played double bass with virtuosity and inspiration gave Corea counterbalance – both are great and their lines are completing and spinning together like a twin star – Corea’s distance and serenity met with more profound attitude of Clarke. 

   This group of stars was completed by Airto Moreira – probably the best drummer and percussionist of the fusion era since Miles Davis Bitches Brew, through Weather Report to Return To Forever, his contribution was clear. The trio Corea-Clarke-Moreira was basic personnel in Stan Getz Captain Marvel album, the project of great importance for  Return To Forever musicians. As Flora Purim and Airto Moreira were from Brasilia, this lineup of Return To Forever was sometimes called “Latin”. Maybe on second album it was still hart to notice, but main creative characters were Chick Corea and Stanley Clarke. And this two artists were axis of all turns, as well on first edition of the group as in future.

Miles Davis – Big Fun

★★★★★

   In sixties Miles Davis with his quintet and with Gil Evans created series of recordings which had the power of defining modern jazz. After 1969, starting with remarkable In a Silent Way, Miles Davis’ electric fusion was the style setting trends in seventies. In this period his artistry flourished with deep quality of pure musical contents. It is characterized by an abundance of excellent recordings, new electrified sound, revised framework for more compositional and improvisational freedom. This qualities can be treated as a continuation of the main trends present in Davis’ music in the sixties. Among the albums from this period, many of which are considered to be brilliant, probably the most underrated is Big Fun, a double LP album, released April 19, 1974. Problem with this album was the moment of publication, over four years after first recordings and diversity of material forming a patchwork of four different pieces recorded during four different sessions in the years 1969, 1970 and 1972. Every piece has length of full record side and takes from 21 to 28 minutes.

   It was three months after album In a Silent Way was released and more than two months after Bitches Brew sessions, when Miles Davis resumed recording sessions continuing his experiments with electric sound and fusion. He started recording along with Steve Grossman (ss), Bennie Maupin (bcl), guitarist John McLaughlin, Khalil Balakrishna playing electric sitar, Bihari Sharima playing tabla and tamboura, pianists Herbie Hancock and Chick Corea, bassists Ron Carter and Harvey Brooks, drummer Billy Cobham and Airto Moreira on percussion. First session took place in New York Columbia Studio E, November 1st, 1969. Musicians recorded one piece Great Expectations, including Joe Zavinul’s Orange Lady. Almost the same band took part in recording Lonely Fire November 28th, 1969. Changes in line-up were saxophonist Wayne Shorter, double bassist Dave Holland. There was also the second drummer Jack DeJohnette. Lonely Fire was placed as recording closing the Big Fun set with sound and style most close to the opening piece.

Miles Davis – Big Fun (1974)

   Second side composition Ife was recorded during last session June 12th, 1972. The band was almost all new, besides Davis and Maupin all line-up has changed. Soprano players Carlos Garnett and Sonny Fortune (also flute), pianists Lonnie Smith and Harold Williams Jr. (also sitar), bassist Michael Henderson, drummers Al Foster and William Hurt, Mtume (James Foreman) playing African percussion and Badal Roy on table – whole band was almost the same as recorded On the Corner and musical ideas of Ife and other recordings of this period are clearly connected. This was most recent sound of Miles Davis band.

   Although many musicians played on previous albums, the sound of this recording was significantly different. And it was not only the effect of introducing Indian instruments, nor the first use of trumpet mute in electric period. Musicians still presented experimenting approach. The first recordings were done five months before Bitches Brew was in trade. Album In a Silent Way was received very well, but musicians knew nothing about what will be the public reaction for the Bitches Brew album. This situation was for sure in a way uncomfortable but the same way forcing more artistic freedom.
   Since the sixties jazz musicians were abandoning formal rules obtained earlier. Traditional dividing into theme and improvised choruses sections in bop, cool and hard-bop was more and more lousy. In free jazz era this form seemed to be totally obsolete, but Davis didn’t accept this as a new mode. Looking for own way became main narration of albums and concerts in electric era. In 1969 he turned to folk music, connecting sound of Indian and African instruments with muted trumpet (as earlier he used the Harmon mute) and the sound of electric instruments, guitar, organ, pianos and even electric sitar. Most natural way of building musical narration became freely distributed, improvised sections developing over hypnotic rhythm and bass line figures. This gave his music the epic effect of breaking rules and touching the core of human condition.

   Most complex and longest composition on this album is Go Ahead John. Recording March 3rd, 1970 group was smaller than typical Miles Davis’ personnel. This time trumpet’s companion was only Steve Grossman on soprano sax, John McLaughlin on guitar, bassist Dave Holland and drummer Jack DeJohnette. And guitar was only harmonic instrument used. The title evokes guitarist John McLaughlin whose solos plays featured role in introducing and closing parts of the piece. The dominant of the whole construction are still two episodes of Miles Davis trumpet solos. While in Great Expectations Davis played with distorted sound giving him almost rock guitar expression, this time without mute his trumpet sounds mild and silky. The sharper sound of McLaughlin’s guitar paradoxically reinforcing lyricism and abstract calm of blues played as central episode by Davis and Holland. In this part Davis’ trumpet was overdubbed with repetitions duplicating phrases and giving this music spatial and mysterious outfit. Sound space was extremely significant. Even some drums parts were divided in fast cuts into two channels like there were two complementary drummers. In coda comes back initial funky guitar with Grossman’s soprano solo. Whole work credited as Miles Davis’ composition was executed in series of studio treatments by Teo Macero – yet another example of excellent cooperation between Davis and great Columbia producer.
   Considering the diversity, richness and permanent underrating, definitively 5 stars.

Weather Report – Weather Report

Joe Zawinul and Wayne Shorter were friends since 1959 when they played in Maynard Ferguson Big Band. Next time they met in one ensemble when working together with Miles Davis during recording sessions for his avant-garde fusion albums In a Silent Way and Bitches Brew. Shorter was tenor and soprano saxophonist in Davis’ quintets since 1964. It is interresting, John Coltrane proposed Shorter as his replacement in 1960, but this time he found his engagement in Art Blakey’s Jazz Messengers. Playing with famous lineup of Davis’ quintet since 1964, Wayne Shorter was one of very few artists with so long onstage experience with Miles Davis. But in 1970 he was ready to go off the quintet for more artistic freedom and autonomy. Zawinul was in much the same situation after parting the Julian Cannonball Adderly’s Quintet where he played through the whole decade. He was composer of some well known themes as Mercy, Mercy, Mercy, Walk Tall or Country Preacher.

Working in shadow of famous leaders Zawinul and Shorter successfully achieved their featured positions as composers, musicians and improvisers. Few months after parting with Miles Davis and Cannonball Adderley quintets, Shorter and Zawinul begun working together with brilliant Czech bass virtuoso Miroslav Vitouš. They founded a new group called Weather Report which was vehicle for developing the idea of fusion in more collective direction. Three musicians were three pillars of musical style and work’s construction but complete lineup included also drummer Alphonse Mouzon and percussionist Airto Moreira. In February 1971 they recorded their debut album named the same as the name of the group – Weather Report.

Weather Report – Weather Report (1971)

As a contradiction to previous recordings with Miles Davis, new group moved towards more popular idea of fusion music. In place of long trance compositions, Weather Report album includes eight compositions, four on every side what can evoke standard rock songs. Also sound and construction ideas can be connected with some progressive rock experiences like Soft Machine. Later development of Weather Report’s music drove to more complex sound and strong rhythmic continuity, but on their first album musicians played more ambient, more tone color and still more trance music than ever after. Weather Report’s debut is more conceptual than Davis’ fusion recordings but it’s quite enough jazz in rhythmic, harmonic and melodic sense.

After all Weather Report album was warmly received by listeners and critics. In Down Beat Readers Poll this record has been chosen as a jazz album of the year. This success has its basis in searching modern sound. Of course many listeners were concerned of Joe Zawinul and his electronic keyboards, but in fact not smaller contribution to the sound of this compositions has soprano saxophone of Wayne Shorter. It was quite a revelation, pure soprano sounds like trails of light in thick rhythmic structures. This could be the material for next (but never happened) revolution in jazz. Some ideas were later presented by other saxophonists. Some other had been developed in music of Weather Report and whole generation of fusion artists.