Tag: jazz fusion

Flim + the BBs | New Snow

“In the 1970s in Minneapolis, bass player Jimmy ‘Flim’ Johnson hooked up with a couple of other studio musicians named Billy Barber (piano) and Bill Berg (drums), and created a jazz group they whimsically called Flim & The BBs. (Billy Barber, Bill Berg – BBs – OK, you got it),” (VinylDiscovery). “Woodwind/reed player Dick Oatts was an integral part of the group as well, but his name wasn’t part of the group’s name because (I’m guessing) Flim & the BB’s and Oatts just didn’t have the right ring to it.

Their music is best described as fusion or contemporary jazz, which would normally make me run for the hills.  But these guys are different: They are inventive, technically superb, and seem to always inject a touch of whimsy into their playing.  As one reviewer put it, ‘They’re playing is the perfect combination of tight and loose.’  The whimsy shows up in the band’s name of course, but also in their album titles and artwork.”

Featuring a supple fretless bass melody at its start, “New Snow” (from 1992’s This is a Recording), with guest vocalist Michael Ruff, starts in Ab major. At 2:27, a downward modulation to F major is in effect for an instrumental bridge until 2:57, where the tune reverts up to Ab.

Blood, Sweat + Tears | You’ve Made Me So Very Happy

Blood, Sweat and Tears, a jazz/rock 10-piece band from New York City, has curiously avoided a MotD debut to date — but that ends now! From Rolling Stone‘s 1969 review of Blood, Sweat & Tears’ eponymous second album by John Landau: “… a perfect example of the rock record that ‘tries harder.’ While at some points on the record the basic style of the group resembles rock and roll, more often the listener is being bombarded with non-rock arranging devices, non-rock solos, and non-rock material, all of which tells him that ‘something else’ is going. The obvious response is that we are hearing something new: rock being mixed with jazz, rock being mixed with soul, etc. Ultimately, someone at Columbia will come up with a name for it: ‘jazz-folk-soul-baroque-C&W-latin-show-tune-rock.’ And for once the hyphenated labeling would be appropriate because BS+T play hyphenated music: first they play folk, then they play jazz, then they play latin, etc. Styles exist in tangent on their record, but never merge into one.”

Landau continues his cutting criticisms of the band’s ambitious sound throughout the review. A criticism that can’t be made about the band, however, is that they were following any kind of well-established trend whatsoever. Instead, they seemed to be putting out feelers to see where the edges of stylistic possibility were — an exercise which can easily get awkward, and fast. But the very idea of the musical genre hyphenate was very much in the air during the late 1960s and early 1970s; in addition to jazz musicians adding rock elements to their sound, why shouldn’t a rock group work with some jazz elements? Perhaps further bolstering the band’s experimental nature: during its existence, no fewer than 160 musicians were part of the lineup!

“You’ve Made Me So Very Happy,”written by Brenda Holloway, Patrice Holloway, Frank Wilson and Motown head Berry Gordy, was initially released in 1967 by Brenda Holloway. Re-released by BS+T, “it became one of BS+T’s biggest hits, reaching number 2 on the Billboard Hot 100 in the United States in April 1969,” (Billboard). “The song was kept from the number 1 spot by ‘Aquarius/Let the Sunshine In’ by The 5th Dimension.” The tune was later covered by Cher, Liza Minnelli, Lou Rawls, Sammy Davis Jr., Shirley Bassey, Gloria Estefan, and many others. After starting in Db major, a brief interlude (1:48-2:08) is in Gb major, followed by a multi-key instrumental journey of a bridge (2:08-2:48) and a return to the chorus (this time in D major). At 3:22, an outro with a much gentler groove and tempo ends the tune in G major.

Franz von Chossy Quintet | Perpetual Lights

“Franz von Chossy was a Munich native who began playing the piano when he was 6,” (JazzInfo). “His mother introduced him to classical music and encouraged him to learn folk music. Franz went to Amsterdam to study at The Conservatoire of Amsterdam. He then moved to New York to attend the Manhattan School of Music, where he studied with Kenny Barron and Garry Dial, Dave Liebman and John Taylor. He also studied film composition with Edward Green in New York.

Franz has released numerous critically acclaimed CDs under his own name, as well as his quintet and his trio. Franz has played in Europe, America, Canada, Asia, India, Jordan, and Syria as well as Africa (Tunisia and Morocco) and Asia. Franz is a valuable member of jazz groups such as the Pascal Schumacher Quartet or Arifa. His ability to improvise … allows him seamlessly switch between styles …”

“The new suite from the Franz von Chossy Quintet, When the World Comes Home, is a musical interpretation of the expulsion of Adam and Eve from paradise,” (JazzSick Records). “Von Chossy’s evocative piano playing moves between jazz and classical music and infused with fresh, contemporary accents by his band. Inspired by his collaboration with the Metropole Orchestra, he composed a cinema-like suite with Adam, Eve, and the fall of man as its points of departure … When the World Comes Home features an extraordinary line-up of piano, drums, cello, violin and clarinet.”

“Perpetual Lights,” the album’s opening track, is an ambitious piece of more than eight minutes in length. One of the few through-lines from start to finish is a restless subdivision of each beat into 16th notes — softly stated by the percussion or carried only by the piano. At other times, the 16ths grow into an overlay for something close to a straight-ahead rock groove, all the more noticeable because the melody often features sustained notes and phrases. The unusual instrumentation jumps out here and there: we hear a cello where we’d expect a bass; the violin and clarinet speak as one at first, then jump into dialogue. The piece starts in Eb, shifts to Bb minor at 1:09, then changes to C minor at 1:28. More changes in tonality follow.

Nelson Rangell | Map of the Stars

“Flute Talk Magazine states ‘Nelson Rangell creates the impression that anything is possible when he improvises,'” (AllAboutJazz). “Such praise is a confirmation of what contemporary jazz fans have known since the Denver-based saxophonist emerged in the late 80s: that Rangell is one of the most exciting and diverse performers in the genre, equally adept at soprano, alto, and tenor saxophone, as well as being a genuine virtuoso on flute and piccolo.

… Rangell first played flute at the age of 15. Within months he was studying both classical and jazz music at The Interlochen Arts Academy … (then) the New England Conservatory of Music in Boston.” After college, he worked in New York City with artists including Hiram Bullock, Jorge Dalto, Eric Gale, Richard Tee, Jaco Pastorius, David Sanborn, and Michael Brecker. “He also found occasional employment with the legendary Gil Evans Monday Night Orchestra and worked on many commercial jingle recording sessions.” Rangell has gone on to release 15 albums. While apparently no fan of smooth jazz, Stewart Mason of Tivo calls Rangell “a gifted soloist capable of twisting away from simple, melodic lines without losing the cozy accessibility that’s the calling card of this style of jazz.”

“Map of the Stars” (1992) gives Rangell a chance to showcase the piccolo at its most fluid and agile. The charming opening melody, in F major, shifts to a second section in F minor (0:48), back to major at 1:04, then minor again at 1:20, this time announced by a playful trill. By the time the groove-driven chorus arrives (1:44), we’ve slipped back into F major. At 2:13, the next verse begins with a guitar solo as the pattern continues — until 4:04, where a masterful extended solo by Rangell finishes out the tune.

for Marje

Steps Ahead | Self Portrait

“Steps Ahead is an American jazz fusion group (which) arose out of spontaneous sessions at Seventh Avenue South, a jazz club in New York City owned by saxophonist Michael Brecker and trumpeter brother Randy Brecker,” (AllAboutJazz). Fully deserving of the term “supergroup,” the band’s “shifting roster has included vibraphonist Mike Mainieri, saxophonists Michael Brecker, Bob Berg, Bendik Hofseth, Bill Evans, Ernie Watts, and Donny McCaslin; pianists Don Grolnick, Eliane Elias, Warren Bernhardt and Rachel Z; guitarists Mike Stern, Chuck Loeb, and Steve Khan; bassists Eddie Gomez, Darryl Jones, Tony Levin, Victor Bailey, Richard Bona, and Marc Johnson; and drummers Steve Gadd, Peter Erskine, Steve Smith, and Dennis Chambers. Steps Ahead was active during the 1970s and 1980s, intermittently during the 1990s, and reunited for concerts in the mid-2000s.”

“Released in 1984, Modern Times … was a radical departure from their self-titled debut,” (JazzMusicArchives). “Unlike the first album’s mostly acoustic textures, Modern Times is a high-tech, futuristic, jazz-of-tomorrow fusion masterpiece … Strong compositions, impassioned performances, and early DDD production are married to otherworldly yet urban atmospheres to create one of the best albums any of these distinguished players has ever appeared on. “Self Portrait” (is a) classic Mainieri composition: long-lined unforgettable melodies, loud/soft contrasts, quirky bridges, outstanding solos over synth splashes, and sudden endings.”

Starting in D major, this 1986 live version of “Self Portrait” shifts into D minor between 1:14 – 1:39 before returning to the original key; the two keys continue to alternate throughout the tune. This particular gathering of the band, perhaps its quintessential lineup, featured Michael Brecker on tenor sax; Mike Mainieri, vibes; Darryl Jones, bass; Mike Stern, guitar; and Steve Smith, drums.

for Mark

Bill Chase | Bochawa (feat. United States Marine Band)

“The U.S. Marine Band’s mission is to perform for the President of the United States and the Commandant of the Marine Corps,” (Marine Band website). “Founded in 1798 by an Act of Congress, the Marine Band is America’s oldest continuously active professional musical organization. President John Adams invited the Marine Band to make its White House debut on New Year’s Day, 1801, in the then-unfinished Executive Mansion. In March of that year, the band performed for Thomas Jefferson’s inauguration and it is believed that it has performed for every presidential inaugural since. In Jefferson, the band found its most visionary advocate. An accomplished musician himself, Jefferson recognized the unique relationship between the band and the Chief Executive and he is credited with giving the Marine Band its title, ‘The President’s Own.’”

“‘Bochawa’ was written by Bill Chase (1935–74); this version was arranged by Jackie Coleman,” (from the video description). “Chase was a trumpet player who graduated from the Berklee College of Music in Boston, where he studied with Herb Pomeroy and Armando Ghitalla. After graduation, Chase soon found himself working with Maynard Ferguson, where he remained for about a year before moving on to the Stan Kenton Orchestra. Chase finally settled into the lead trumpet chair in Woody Herman’s Thundering Herd. After leaving Herman’s band in August 1967, he moved to Las Vegas where he worked as a freelance musician and arranger. Around this time, The Beatles burst onto the scene, and his interest turned towards rock. As the 1970s began, Chase wanted to create his dream band comprised of four trumpets, four rhythm instruments, and one vocalist. Chase gained national attention after his group earned a Grammy nomination in 1971 for Best New Artist. ‘Bochawa’ comes from Chase’s third and final album, Pure Music.“

Splitting up into various smaller ensembles to perform for various events is a constant process for the Marine Band, including the jazz quintet heard here. Featuring the trumpet in the original spirit of Chase’s composition, the funk/rock track modulates up a whole step at 4:47.

Nate Wood | Become

“Grammy nominated Nate Wood is a drummer/multi-instrumentalist and mastering engineer based in New York City,” (NateWoodMusic.net). “Nate is a founding member of the Grammy nominated quintet Kneebody, Kneebody released their self-titled debut album in 2005 on trumpeter Dave Douglas’s label Greenleaf Music. In 2007, Kneebody released Low Electrical Worker on Colortone Media. They completed an album of arrangements of Charles Ives compositions with singer Theo Bleckmann and released the recording 12 Songs of Charles Ives, which was nominated “Best Classical Crossover Album” Grammy Award (2009).

Nate has also performed or recorded with many notable artists including … Dave Grohl, Brian May and Roger Taylor (Queen), Chris Squire (Yes), Elliot Easton (The Cars), Chaka Khan, Wayne Krantz, Billy Childs, Tigran Hamasyan, Donny McCaslin, Sting, and many others. Nate was featured in Modern Drummer in March of 2014 and placed in the 2015 Modern Drummer reader’s poll among the top 5 drummers in the fusion category.” He’s since released four of his own albums “and masters records for artists from around the world.”

“Become,” from Wood’s debut solo album Reliving (2003), moves like clockwork through its first two groove-driven verses and choruses. Then 2:10 brings a soft-spoken bridge which pivots down a whole step to Ab major (2:32) as the groove returns and a guitar solo begins. At 2:45, there’s another shift to B major, but at 2:57, we drop back into the slot of the original key as the solo continues to build in advance of the vocal’s return. Wordless vocals and a huge syncopated kick on the fifth degree of the scale bring the tune to its conclusion.

David Sanborn | A Change of Heart

“A Change of Heart” is the title track of David Sanborn’s 1987 album, which “reached #74 on the Billboard 200, #43 on Billboard’s R&B Albums chart and #3 on the Top Contemporary Jazz Albums chart.” (SessionDays).

“By the mid 1980s, saxophonist Sanborn’s sound was dominated by the synthetic tinge of keyboards and synthesizers, falling in line with the slick, crossover jazz style of the era,” (JazzAtelier). “Change of Heart is emblematic of Sanborn’s direction at the time, and its eight tracks alternate between funky, danceable numbers and smooth ballads, all with a highly polished commercial veneer.” Crossover was something of a code word for the more frequently used term smooth jazz, a genre which peaked in the 80s and could easily be found on the FM dial in most major North American cities at that time. AllMusic describes the genre as “an outgrowth of fusion, one that emphasizes its polished side.”

The track begins with a melodically acrobatic intro led by a panpipe-like patch on a wind-controlled (“EWI”) synthesizer, a new development in synthesis. The EWI player was one of the instrument’s foremost players and boosters, tenor saxophonist Michael Brecker, who also used the instrument on some of his own material. The tune begins in earnest as a slow funk groove kicks in at the 0:50 mark, alternating between A minor and its relative C major. At 1:14 – 1:38, there’s a shift into Eb lydian mode and then a return to the original A minor/C major. A quick revisit to the intro’s territory from 2:25 – 2:50 brings a dialogue between Brecker’s birdsong-like EWI lines and Sanborn’s trademark jump-to-lightspeed sonic intensity. At 4:02, a late kitchen-sink bridge kicks in, led by Marcus Miller’s driven stepwise descending bass lines and a saturation of every possible square inch with multiple synth textures and compound harmonies. But at 4:24, the groove falls away and the intensity dissipates for the outro as Brecker’s darting EWI sound is once again the focus.

Billy Childs (feat. WDR Big Band) | Mount Olympus

From the WDR Big Band: “The American composer and pianist Billy Childs has several Grammy awards under his belt and is one of the few people who work both in the classical field (including multiple commissions for the LA Philharmonic) as well as the jazz scene, both for smaller groups and big bands. We had the opportunity to work with him back in 2018 and here’s a clip from that project. ‘Mount Olympus’ is a composition by Billy, here in arrangement by Florian Ross. It features Paul Heller on tenor sax and Billy Childs on piano.” From a 2020 JazzTimes profile: “Los Angeles-born and bred, Billy Childs has built a remarkable career as a pianist, composer, and arranger largely away from the New York jazz scene … he was classically trained both in high school and at USC, where he studied composition. After early gigs with J.J. Johnson and Freddie Hubbard, Childs went on to lead his own groups and release a dozen albums … netting 13 Grammy nominations. Artists such as Dianne Reeves and Chris Botti have leaned on his composing and arranging chops.”

“A top European jazz group, Germany’s WDR Big Band is a sophisticated ensemble, featuring an evolving line-up of some of the country’s best musicians,” (AllMusic). “A function of the German public broadcasting institution Westdeutscher Rundfunk Köln based in Cologne, the WDR Big Band are musical ambassadors charged with promoting jazz and culture at home and around the world. Over their seven-plus-decades career, the WDR have released numerous albums on their own, featuring such guest artists as Ron Carter, Paquito D’Rivera, Arturo Sandoval … and (won) a Grammy Award for their 2005 Brecker Brothers collaboration Some Skunk Funk. Although much of the WDR Big Band’s performances take place in Germany, they often tour the globe.”

Released in 1989 on Childs’ album Twilight is Upon Us, “Mount Olympus: starts in D minor but shifts to Eb minor from 0:27 – 0:35 — the first of the track’s many unfolding moments. A frenetic 7/8 starts and ends the tune, with off-beat kicks obscuring the meter. But 4/4 takes over the arrangement’s midsection, with nearly every 16th note fair game for an off-kilter kick or suspenseful chord change. The track is the first of many on the live compilation Do You Know My Name.

for Travis

Weather Report | A Remark You Made

“Weather Report were one of the earliest jazz fusion groups to emerge at the beginning of the ’70s,” (AllAboutJazz). “They were rare in that, like Herbie Hancock’s Headhunters, they didn’t have a guitarist to light the fire and excite the audience as was the case with Mahavishnu Orchestra and Return to Forever; instead, they relied, in addition to pure instrumental virtuosity, upon intelligent compositions. The band’s founding members were none other than Joe Zawinul and Wayne Shorter, two exceptional musicians who had already contributed considerably to Miles Davis’ continuing evolution throughout the ’60s and into the early ’70s; some of the great trumpeter’s most pioneering achievements might not, in fact, have been possible without them.

Now, forty years after the event, Heavy Weather (1977) was the Weather Report’s major commercial breakthrough; arguably their finest album ever, it succeeded in breathing new life into a genre that was challenged to compete against the latest pop/rock fads of the time. Part of the LP’s success, it must be said, was due to the group’s enlisting of John Francis ‘Jaco’ Pastorius, fretless electric bassist extraordinaire; a man who forever altered the perception of his instrument and whose self-titled 1976 Epic Records debut caused such a sensation that, at the time, many considered it to be one the greatest bass albums ever recorded.”

Heavy Weather‘s “A Remark You Made” isn’t full of the fireworks of the album’s uptempo tracks, such as “Birdland” or “Teen Town.” But it nonetheless clearly showcases the expert interaction among the band’s master musicians. After a start in Eb major, the plaintive main theme comes from the Jaco Pastorius’ fretless bass as the tonality flips to the relative minor, C minor, at 0:31, then continues for a gently atmospheric solo from bandleader Joe Zawinul’s keyboards until 1:11. Continuing in Eb major, Wayne Shorter’s fluid tenor takes the spotlight, joined here and there on the melody by Jaco (3:49) until the bass returns to holding down the roots (4:06) under a protracted solo from Zawinul that borders on hypnotic, cycling through only two chords. At 5:39, Jaco re-states the opening theme, then repeats it over and over; the upgoing lyrical melody is underlined all the more by the downward chromatic motion of the bass line itself, which ranges from C down to G before jumping back up to C during each cycle (starting at 5:39-5:50). At 6:21, A Db major chord wakes us from our sustained idyll; serving as a bVII of Eb, it delivers us back into the original Eb major.

for Scobie