Reggie Workman First - "Conversation" (1977)

yes, that scribble is part of the design

'Mark II' excerpt


'Conversation' excerpt

I’d always imagined that REGGIE WORKMAN had been John Coltrane’s bass player for many years, but apparently it all took place in 1961. I guess it's the legacy of recordings like the Village Vanguard recordings and the Africa/Brass Sessions that makes it seem longer. I mean, I just collected my mail and there's a promo pamphlet for a new pizza delivery service called "Love Supreme", who promise "emotional pizza for one and all". Now that's cultural reach.

After Coltrane replaced him with Jimmy Garrison, Workman spent the 1960s playing on many albums by artists like Art Blakey and the Jazz Messengers, Freddie Hubbard, Archie Shepp, Herbie Mann, Roy Ayers and Wayne Shorter. (album blog links, not bios)

Around the turn of the decade, he played on spiritual albums like Pharoah Sanders' "Karma" and Alice Coltrane's "World Galaxy", and took part in some significant Strata-East dates - Stanley Cowell's "Brilliant Circles"; Charles Tolliver's "Impact" and "Live at the Loosdrecht Jazz Festival", and Billy Harper's "Capra Black".

During the 70s Workman became more involved in education, and led the New York-based Collective Black Arts organization in New York - a community self-help project that for a while published its own newspaper, "Expansions".

"Conversation" is his first album as leader. He's joined here by Cecil Bridgewater (trumpet); Slide Hampton (trombone); George Adams (reeds); Albert Dailey (piano); Michael Carvin (drums) and Lawrence Killian (percussion), who are listed by the collective name "Reggie Workman First".

This album was recorded on December 19th, 1977, a week after the Bridgewater Brothers' "Lightning and Thunder", which also featured Workman, Bridgewater and Carvin.

Workman and CECIL BRIDGEWATER had first played together on some of the "Roy Brooks and the Artistic Truth" albums in 1973, including the amazing "Black Survival", and in 1976-77 had both joined Max Roach on four albums, including "Nommo" and "Live In Tokyo".

Pianist ALBERT DAILEY released his first solo album "Day After the Dawn" in 1972. In the few years preceding this album, he'd recorded on Stan Getz and Joao Gilberto's "The Best of Two Worlds" , Azar Lawrence's "Summer Solstice", and Charles Rouse's "Cinnamon Flower". In May of '77, Dailey and Reggie Workman had both played on Archie Shepp's "Ballads for Trane".

Drummer MICHAEL CARVIN and percussionist LAWRENCE KILLIAN individually had a wealth of percussion credits on various albums by Pharoah Sanders and Lonnie Liston Smith. They'd both played on Sanders' "Elevation", L Smith's "Expansions", and Cecil McBee's "Mutima". Apart from the Bridgewater Brothers album the week before, Carvin and Reggie Workman had also spent part of December working on Hamiett Bluett's album "Orchestra, Duo and Septet". Also a veteran of some great Norman Connors albums, Killian began a five year stint with the Village People the year after this, even appearing (uncredited) in the film "Can't Stop the Music", before heading back to the funkier zone of Pucho and the Latin Soul Brothers.

On McBee's "Mutima", Carvin and Killian had been joined by saxaphonist GEORGE ADAMS, who'd also worked with Killian on the Roy Haynes albums "Hip Ensemble" and "Senyah". Most of Adam's 70s work had been with groups led by Charles Mingus, Gil Evans and Hannibal Marvin Peterson, with some side excursions to the Fatback Band's "Keep On Steppin" and, earlier in the year, James Blood Ulmer's "Revealing". The year before, he'd released "Suite For Swingers", his debut album as a leader.

Rounding out the group was trombonist SLIDE HAMPTON, a frequent leader in his own right and a veteran of many Maynard Ferguson albums. His one previous collaboration here was with Reggie Workman on Stick Evans' 1961 album "Stick Around With Sticks Evans", although he would go on to work with several of the players over the next few years.

Things get underway with Hampton's uptempo "Mark II". Carvin and Killian set up a percussive groove over which Workman's constantly sliding around a walking vamp. The brass set up the main melody, leading into solos by Dailey, Bridgewater, Adams, Workman and Hampton. After a return of the melody, there's a percussive workout with Killian on conga and Carvin providing sensitive minimal backing - the two are really locked together on this album, as Carvin's background was as much as a percussionist as a drummer . Finally, a thankfully short drum solo finishes up the track.

Workman's compositions had been few and far between until this point, and his pretty modal piece "Deja Vu" rounds out side 1. Dailey sets up a chord backing for the main brass theme, which is followed by a Hampton solo. All instruments drop away for an extended Workman bass solo. Dailey leads the band back in for Adam's sax solo, then all flirt around the main theme to finish.

Side 2 is taken up with Workman's eighteen minute arrangement of "Conversation", written by pianist Sonelius Smith. The year before, Smith had recorded it as "Conversation Piece" on "World Of The Children", his album with Shamek Farrah. Reggie Workman would later record the track again in 1993 for his "Summit Conference" album.

Workman leads the track in with some tense, bowed crescendos and scrapes that the brass respond to with improvised bursts of colour. The main theme is introduced and leads to a sax solo from Adams, with Workman answering his impro on bass. Next, Cecil Bridgewater solos over an extended complex rhythmical interplay between Dailey and the band. His solo continues while the band break down into some almost-free, yet still controlled, patches of colour built around Dailey’s apeggios.

This breaks down further into a call and answer section between bass and piano. Killian’s varied percussion brings back the beat and calls Dailey back to the key centre, while he continues the solo. There’s another Workman-only solo, which he finishes by re-introducing the main theme, leading into a Hampton solo and a final return of the theme.

TRACKLIST 

1. 'Mark II' (Slide Hampton) 10:34
2. 'Deja Vu' (Reggie Workman) 11:32
3. 'Conversation' (Sonelius Smith, arr. by R.Workman) 18:04

PERSONNEL

Reggie Workman - bass
Cecil Bridgewater - trumpet
Slide Hampton - trombone
George Adams - tenor saxaphone
Albert Dailey - piano
Michael Carvin - drums
Lawrence Killian - percussion

CREDITS

Recorded at Sound Ideas Studios, New York City. N.Y. December 19, 1977DENON Catalogue # YX-7805-ND
Produced by Yoshio Ozawa for Nippon Columbia Co. Ltd.
Program Co-ordinator : Tsutorou Ueno (Nippon Columbia)
A&R director : Reginald Workman
Recording and Remix Engineer : Jim McCurdy
PCM Operator : Kaoru Yamamoto (Nippon Columbia)
Engineering Supervisor : Norio Okada (Nippon Columbia)

Cover photo - Tadayuki Naitoh
Artwork - Satoshi Saitoh (sign)
Cover Ilustration - Shozo Shimoda
Liner Notes - Hideki Satoh

REGGIE WORKMAN DISCOGRAPHY 

1977 'Conversation' at base of this post 
1983 'Such Great Friends' (FLAC) @ Strata-East Fan Club
1986 Bootleg concert at Inconstant Sol

1987 "Synthesis" at Avax
1989 "Images - Reggie Workman Ensemble in Concert" from E-Mile (thanks!)
1993 "Summit Conference" at Call It Anything
1995 "Cerebral Caverns" (FLAC) at Call It Anything
1995 "Cerebral Caverns" (MP3) at Musistenz2000 "Altered States"
2006 Live at St Peters Church (with Andrew Cyrille & others) at Inconstant Sol

RESEARCH CREDITS

Some information from :
Rick Lopez's Reggie Workman discography
Michael Fitzgerald's Slide Hampton discography
Marcel Safier's George Adams discography & sessionography
Tony King's George Adams discography

The thirty-five album blog links within the post are from :
Call It Anything, Pharoah’s Dance, Ile Oxumare, Seventeen Green Buicks, El Goog Ja, Orgy In Rhythm, My Jazz World, Strata-East Fan Club, Four Brothers Beats, Bari Beat Bandits ft. San Pasquale Ent., Keep on Truckin' (on the sunny side), The Roadhouse, Rocker CDs, Vlassis-13, Vibes From the Wax, The Music Jockey, The Sly Mongoose, Loronix, Mondo Musicale, Disco2Go, Rocker CDs, Jazz Archives, Fat Toro. Rapidshare link for James Blood Ulmer's "Revealing" courtesy of Burning Blue Soul, originally uploaded at "El Reza". Thanks to all these bloggers.

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Cecil McBee - "Mutima" (1974, Strata-East)

First posted at "Orgy In Rhythm" by Bacoso in September 2006. Re-post by permission. Text by Bacoso and Daily Jazz Blogspot.



Here is my last post on Strata-East for the moment and it's the great Cecil McBee. I have so many albums with him as a sideman I thought it was fitting that this solo album by him should be posted. This features the terrific "Tulsa Black" track that was compiled by Soul Jazz some years ago for their Strata East cd. I have lifted this review from the always excellent and eminently readable Daily Jazz Blogspot - jazz reviews and comment from one man with an unfeasibly large record collection.

The bass has always been an essential component of the jazz rhythm section, simultaneously holding down the groove while marking out the changes. Bassists of the hard-bop era often got little in the way of solo space (they were too important to be allowed to wander off by themselves) but throughout the 1960s and 70s, perhaps thanks to the gargantuan presence of Charles Mingus, they began to take a more prominent role. Several highly influential figures appeared, like Ron Carter and Dave Holland along with many others. Cecil McBee is perhaps less well-known, but equally talented, having played on seminal works by the likes of Alice Coltrane and Pharoah Sanders.

This album finds him firmly placed as leader of an avant-garde group with a distinctly spiritual edge. Mutima is the key to the spirit and culture of black Africa, according to the sleevenote; McBee's compositions certainly evoke that spirit. The music is at times inspirational. The opening "From Within" is a bass solo with McBee playing two acoustic basses simultaneously. The idea of an 11-plus minute bass solo may terrify some, but this is riveting. Not only does he play the basses, but for a section he plays the feedback created by the amplification of both instruments. The sounds he creates are otherworldly and exciting, and not always easy to identify as being produced by an upright bass. "Life Waves" is an ensemble piece, but with McBee taking a prominent melodic role, and demonstrating enormous technical skill with some very fast lines.

The other standout track is "Mutima" itself, which is virtually indistinguishable from some of the work McBee undertook with Pharoah Sanders a few years earlier. Most Strata East recordings are pretty hard to come by, but this was briefly re-issued in the mid 90s as a CD in japan, vinyl in U.S. Hunt 'em down.

TRACKLIST

01. From Within (11:21)
02. Voice Of The 7th Angel (2:02)
03. Life Waves (9:13)
04. Mutima (13:41)
05. A Feeling (2:38)
06. Tulsa Black (6:10)

MUSICIANS

Bass - Cecil McBee
Bass [Electric] - Cecil McBee, Jr.
Congas - Lawrence Killian
Drums - Allen Nelson , Jimmy Hopps
Flute - Art Webb
Percussion - Jaboli Billy Hart , Michael Carvin
Piano - Onaje Allen Gumbs
Saxophone [Alto] - Allen Braufman
Saxophone [Tenor, Soprano] - George Adams
Trumpet, Flugelhorn - Tex Allen
Vocals - Dee Dee Bridgewater

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Also ...
another three great albums from Cecil McBee, all from 1977 :

Cecil McBee Sextet - "Compassion" from Pharoah's Dance
Cecil McBee - "Alternate Spaces" from El Goog Ja
Cecil McBee Sextet - "Music From the Source" from El Goog Ja

Please comment, thanks.

Bridgewater Brothers - "Lightning and Thunder" (1978)

We last met the Bridgewater Brothers (Cecil on brass, and Ron on reeds) as part of the Billy Parker's Fourth World album from a few weeks back. They recorded this Japan-only vinyl release in late 1977 with a pretty stellar lineup - Stanley Cowell on piano, Reggie Workman on bass, Michael Carvin on drums.

I started doing one of my who's-played-with-who jazz chronologies as part of this post, but it soon became clear that these guys have played together in so many configurations over so many years, that such a chronology would have ended up turning into some endless DNA molecule sequence that would have eventually eaten me and spat me out.

So the trivia fact of the day is that all five of these musicians played on singer Mark Murphy's 1961 album "Rah" which sounds, of course, nothing at all like this one (but is a wonderful vocal jazz album, so catch it at El Goog's blog via that link).

Also, as part of that initial search, I did come across a lovely 1975 album by drummer Michael Carvin called "The Camel", which was new to me, and you should check out at Pharoah's Dance.

Cecil and Ron Bridgewater, West Village NYC, 1976
photo by Tom Marcello

As for this album - three long tracks written by the brothers. This is the most straight-ahead jazz I've posted so far - i'll listen to Stanley Cowell play piano any place, any time. Ron Bridgewater's "Silent Rain" features solos by the brothers and by Cowell. "Dear Trane" has - you guessed it - plenty of saxaphone solos and some inspired solo bass by Reggie Workman.
Cecil Bridgewater's frenetic title track takes up the second side of the album. After some chaotic discordancy at the start, Workman's walking bass holds things together while Cowell's arpeggios go screaming all over the scale, and Carvin is all percussion and colour.

TRACKLIST 

01 "Silent Rain" - (Ron Bridgewater) - 9:09
02 "Dear Trane"- (Ron Bridgewater) - 10:37
03 "Lightning & Thunder" - (Cecil Bridgewater) - 16:41

PERSONNEL

Cecil Bridgewater - trumpet, fluegel horn
Ron Bridgewater - tenor & soprano sax
Stanley Cowell - piano
Reggie Workman - bass
Michael Carvin - drums

PRODUCTION DETAILS

Artist: BRIDGEWATER BROTHERS
Title: LIGHTNING AND THUNDER
Label: DENON / NIPPON COLUMBIA
Cat #: YX7526ND
Press: JAPAN
Recorded: Dec 10, 1977, NYC
Released 1978 – japan only
Hope you enjoy it.

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