Stanley Clarke — School Days

★★★★

   Stanley Clarke was one of youngest stars of jazz in seventies. He debuted in 1966 and when in 1976 he published his fourth solo album School Days, he was already noted as the best electric bass player and one of most influential artists on fusion jazz scene. Three prior albums gave him position of independent artist and classic of fusion jazz. He was famous as virtuoso for his innovative technique and wide creative horizons. Suggesting in the title and cover graphics a retrospective look to the past, maybe frolicsome reference to theoretical foundations or even some basic musical ideas, he made School Days one of most popular and influential albums in the history of bass centered recordings. And he achieved this position before he turned 25. In his rich discography one can find many great albums but it was School Days that became so popular and influential.
   Perfect equilibrium between virtuoso exhibition, creative invention and popular trends is what made this record so important. From the other hand, on earlier and later albums qualities of Stanley Clarke’s playing are always on constant, highest level. Maybe School Days just hit the moment? Whatever it was, in mid seventies Stanley Clarke’s records were bought not only by jazz audience. Album was recorded in June 1976, most of material at Electric Lady Studios in New York City, and last song Life Is Just a Game at A&M Studios in Los Angeles. Stanley Clarke’s solo in Life Is Just a Game and improvisation in duo with Billy Cobham was one of highlighted moments in fusion jazz legends. Over thirty musicians, new sound of electronic instruments, new rhythmic and emotional density and perfect arrangements were enormously attractive. Album was best seller and had peaked on 2nd position of Billboard Jazz Albums.

Stanley Clarke — School Days (1976)

   Title song opens first side, School Days with straight riff and cheerful theme with background voices by Clarke. In central part nice spatial effect based on strings gives space for electric bass solo expressive and consequently developing main riff motive. Coda with phrase sung by Clarke changes this short perspective giving a kick to next track. Quiet Afternoon is so much natural from formal point of view, it can be used as improvisation workshop for students. This is just theme and improvisation on background of bass and drums (Steve Gadd) with Clarke overdubbing himself with piccolo bass guitar especially build for artist what was officially mentioned in credits. Solo on piccolo bass Clarke played in third track The Dancer. Last song on first side has thicker facture, with synthesizers (David Sancious), two percussionists (Gerry Brown, Milton Holland) and guitarist Raymond Gomez. It could be seen as an answer for opening song, not only because of its joyous mood.
   Second side starts with beautiful acoustic ballade played by Clarke on upper bass with the bow, and with great pizzicato improvisation with elements of classic guitar technique. Playing the same on guitar would be a certificate of virtuoso level, on double bas it was just breaking the boundaries. As a counterweight acoustic guitar solo by John McLaughlin is based on sound nuances and acoustic effects impossible to execute on any other instrument. This perfect duo only accompaniment is conga and triangle played by Milton Holland. Great inspirational moment. This beautiful, reserved and magic composition is like an interlude leading to next track Hot Fun which again has more rhythmic and dance intensity, and beyond where all accumulated energy finds an outlet — to a grand finale and the only song with lyrics Life Is Just a Game. Lyrics are short but sung with nice voice. This conclusive composition is space where three basses played by Stanley Clarke are interfered with great solos by George Duke (keyboards), Icarus Johnson (guitar) and rousing drums by Billy Cobham. Power of great soloists was multiplied by string and brass orchestra of 23 members. For such nice and powerful piece of joyful music four stars is just rigorous rating.

Mahavishnu

April 30 - INTERNATIONAL JAZZ DAY celebrated under the auspices of UNESCO since 2012

   In the history of fusion jazz the band called Mahavishnu was the legend. In fact the brand was shared by two different bands, even though both were closely related to English guitarist John McLaughlin. First Mahavishnu was performing in period 1971-1976 and it was the band playing blend of different styles from progressive rock to modern jazz and funky. Mahavishnu in seventies was the band establishing jazz-rock sound with violin, synthesizers and electrified guitar. Eight years after first Mahavishnu was disbanded, John McLaughlin back to the idea of fusion. In 1984 he reestablished under the name Mahavishnu whole new band with Mitchell Forman on keyboards, Jonas Hellborg on bass, Bill Evans on saxophones and drummer Billy Cobham, a pillar of first lineup and second member of both incarnations. New band was active to 1987 and recorded two studio albums – Mahavishnu (1984) and Adventures in Radioland (1986).
   Although both Mahavishnu bands were playing fusion by the assumption, and both were artistic projects by John McLaughlin, their sound and style characteristics were essentially different. Most clearly it was change of lineup. Tenor and soprano saxophones played by Bill Evans with deep sound and full-blooded jazz phrases gave whole band strong expressive character. Thickness of jazz structures founded on perfectly established bass phrases by Jonas Hellborg and dense keyboard progressions by Mitchell Forman are building quite new idea of fusion. Opening composition Radio-Activity is perfect sample of this new style, it’s more radical and far more electrified. There’s more of power jazz playing here than trying to reestablish any connections with rock or popular music. In fact 1984 was the moment when under pressure of disco and pop music, the best part of rock scene was declining into dark. And this paradoxically loosed the bounds with rock, giving new fusion band more space for clear jazz and sound experiments.

Mahavishnu (1984)

   And experiments with the sound became the basis of 1984 album John McLaughlin recorded with new lineup of Mahavishnu. Changes of instrumental setting, additional musicians and instruments Danny Gottlieb on percussion instruments, Katia Labeque on synthesizers and piano in When Blue Turns Gold, where played also Hari Prasad Chaurasia on flute and Zakir Hussain on table – all these artists gave the sound w the band their stigma. But what has changed most was guitar. Its sound became essentially new factor in Mahavishnu style. And not only the sound but whole performance is different. After series of great recordings with Shakti and various significant experiences with world music, John McLaughlin had powerful and potential for creating wide spectrum of improvising ideas. The sound spectrum of leader’s guitar is a beyond imagination. Guitar synthesizer Synclavier II, digital guitar and Les Paul Special he used were just state of the art equipment, giving much more possibilities than any artist really needed. Imagination and sound developments gave this record free feeling and noble stability. It’s one of best record of this strange year. 

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.