Here is a very rare example of a review “Differential – Mono-support – Heterozygote”: “Differential” because it discusses two distinct works, “Mono-support” because they are gathered on the same CD, and “Heterozygote” because they are two works by two different artists!
In the CD in question, we find two beautiful things brought together: Chick Corea's first solo album “Tones for Joan’s bones” and Miroslav Vitous' first solo album “Mountain in the clouds” (already known as "Infinite search").
Both spectacular and essential debut works for those who love new jazz, which at a certain point diverged from the norms of hard bebop, like an iceberg, in the late sixties to move forward decisively; perhaps experimenting with novelties without a specific goal, but generating gems like these two along the way.
In “Tones,” recorded in 1968, we find Joe Farrell on sax and flute, Woody Shaw on trumpet, and the rhythm section composed of Chick on piano, alongside Steve Swallow on bass and Joe Chambers on drums. The latter constitutes the only tenuous link to the other album contained in the CD, as in the tracks 'Cerecka' and 'Epilogue' Joe will replace Jack De Johnette, who instead plays in all the other tracks on Miroslav's album: aside from him, in “Mountain,” recorded in 1972, we have John Mc Laughlin on guitar, Herbie Hancock on Fender piano, Vitous on bass, and Joe Henderson on tenor sax.
The tracks: “Tones for Joan’s bones”
1) “Litha” contains a sunny and aggressive quintet just enough to tackle a relaxed and calypso-like tempo that suddenly changes to highlight a kaleidoscope of ideas and technique. Fresh and thoroughly enjoyable for all thirteen minutes!
2) “This is new” (by Kurt Weill and Ira Gershwin) is more swinging, relaxed but modern jazz starts from here: you can feel it. Bass solo by Swallow to savor fully. We withhold comments on the extreme class shown by the three in the rest to not spoil the surprise for willing buyers.
3) “Tones for Joan’s bones” is performed in trio, and here Corea clearly shows that he is trying to detach from the contemporary piano reference models that shaped him, along with the classics, fully incorporating at the time the new influences of modal elaboration of sound material, while remaining firmly rhythmic and absolutely anchored to time and the two prodigious rhythms. His particular and constant characteristic over the years.
4) “Straight up and down” is excessively beautiful and arranged for the benefit of the two winds for somersaults and a display of collective technique, however never an end in itself. In conclusion, this album already has all of Chick; three of his compositions and a spectacular cover. And above all, there is plenty of music. Of total quality.
“Mountain in the clouds”
5) “Freedom jazz dance” is the only track in the work not composed by Miroslav Vitous, fresh from the Prague conservatory but well decided to carve out a role in the significant US circuit. This execution will get stuck in your brain and will be the reference version against which to compare all others you will hear afterward. (Those who owned this album will smile and nod!) The theme's exposition is done in unison between sax and bass, while the base is kept by electric piano and guitar, with the drums maintaining time and air cymbals. The solos are in order: bass, piano, guitar, and sax. Theme reprise and end. “It’s worth the entire LP” as they used to say.
6) “Mountain in the clouds” is a beautiful swinging piece played between bass base, overdubbed bass solo, and drums.
7) “Epilogue” fully recalls the things Herbie was doing at the time: same melodies, same ability to discreetly support and create a certain unsettling and suspended atmosphere. Very delicate.
8) “Cerecka” is a short, almost free sketch of considerable effect, and Mc Laughlin's guitar briefly practices to then dialogue with Henderson. Rubato and effects dominate.
9) “Infinite search” returns to the dreamy atmospheres and the sustained and soft notes offered by the electric piano. Vitous' bass often stays high and solos '‘antziquenot’': a characteristic of his that later led to his expulsion from Weather Report. Too much classical influence in his veins. Sound good for a type of ethereal and cerebral music, not for funky. Excellent track. Impressive similarity with the first Perigeo.
10) “I will tell him on you” returns to the free and dynamic atmosphere, in contrast to the just-finished piece, for a written track where the theme exposure stands out in unison between bass and sax.
Suspended development and atmosphere similar to Davis in balance between hard bop and electricity of Water babies. In essence, two masterpieces in a single package. The reason I dare to give four stars is only for a holy pique about a real sacrilege. Read from the cover notes: “The song ‘When face gets pale’ from the Miroslav Vitous album does not appear on this CD due to time restrictions”!!! If I had known beforehand, I swear to God I wouldn't have bought it!!! If anyone ever finds the track online, please send it to me to soothe my total frustration!!!
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