Saturday, December 5, 2020

Hipster Mohican Airbrushed Out Of The Big Picture Again

Alan Douglas. There, I said his name because nobody else will, apparently. This here album, and its tense recording session, garners beaucoup worthy screed, but the producer rarely (if ever, as far as I can see) gets kudos for bringing Ellington and Mingus together. Douglas (who also helmed the uber-swell Bill Evans album Undercurrent) will remain misunderstood and under-appreciated, because he didn't fit. Part huckster, part hipster (in the old sense), part grifter, and maybe part genius, he's forever on the periphery of jazz and rock, which maybe isn't such a bad place to be. He's at home on th' Isle O' Foam©, leastways.

This is one iconic classic album classic album icon. I ain't heard it yet, because I'm upping the 320 for youse wine-sippin' snobs who reckon they can tell the diff before I stomp it down to a sustainable 192.

Spin your propellor beanies in Scotch's direction for this one!

27 comments:

  1. Duke Ellington is not the polite dinner guest a lot of reviewers make him out to be here; Mingus and Roach don't miss the opportunity to challenge him, as if saying "this is what we did to your jazz, can you keep up?" but like an old kung-fu master Duke humbles them without breaking a sweat. His moves are so subtle you might've missed them. The only time he seems at a loss is when Mingus goes kamikaze and tries to sabotage whatever song they're on by just bashing away at one chord for minutes at a time all trance-like, but that just adds to the cutthroat attitude that makes the session so special. It's one of those records that's punk rock decades before punk rock.
    It's not all territorial pissings, though; Warm Valley and Solitude are the only tunes that approach schmaltz, but Mingus' perfectly timed stride saves them from drowning in their own sentimentality. Their rapport is especially clear in Backward Country Boy Blues ("oh, that was sweet!") and Fleurette Africaine, the latter of which has a delicate religious reverence to it that damn near makes me misty eyed. Something else that makes this one so accessible is that unlike practically everyone else in the 60s, Duke doesn't play anything for five seconds that just seems like some deconstructive intellectual exercise. His ringing lyricism is inseparable from his swing roots, as is the sense of endlessly flowing melody over his multitasked rhythmic tug-o-war with Mingus and Roach.


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  2. Yep, what JKC said. Ranks up there with the Elllington - Coltrane recording. As great as his orchestras were, I prefer Ellington's smaller group records. There's a nuance to his work that better shines through with fewer instruments.

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    1. You said "nuance". I'm afraid we're going to have to pants you.

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    2. What about JKC saying "deconstructive intellectual exercise"?

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    3. I'm afraid only "nuance" earns a pants. I don't make the rules.

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    4. My favorite part was "goes kamikaze."

      At least he didn't say "goes commando"...

      ..."multitasked rhythmic tug-o-war" wuz purty hep, too...

      The Kat is BACK!

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    5. I love your comments, UncleB, but please take a couple of deep, slow breaths before hitting the "publish" key, and save us both some work!

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  3. Francoise Hardy? Some French bird's claiming ownership of le Duc's album. Ooh la la!

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  4. I thought Douglas was mostly hated because he sacrilegiously tinkered with Hendrix's unfinished studio recordings. Thanks, I'm looking forward to hear these greats together.

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    1. For the truest account you're going to get of Douglas' Hendrix involvement, go to deadhendrix.blogspot.com I interviewed him as part of the research.

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  5. Thanks' I'll check it out. He also started a pretty interesting label in the 90's called Yikes. Had some good stuff, but didn't last long.

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    1. If you have any Yikes recordings - please upload! Anybody?

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    2. FT3, Awe shit, now I feel bad. Sorry, I think I goofed on the founder of Yikes! I'm reading on the www that Peter Wetherbee (another close associate of Laswell ) is the guy, and the label only released about 7 recordings. The good news is I have four of 'em. Douglas Records was operating at the same time though, also releasing some other Laswell projects many of which I also have. I can upload if you still like any. Sorry for the confusion.

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    3. Everything's copacetic! Nothing to feel bad about. Upoload (or not) what you want (or not)!

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    4. Praxis - Mold (Yikes!) 1998
      https://workupload.com/archive/vyfjU6nm

      Steve Rossiter - Inner Booty (Yikes!) 1998
      https://workupload.com/archive/uBr4vaf5

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    5. The Bell - Bootleg (Yikes!) 1998 (2 CDs)
      https://workupload.com/archive/GGddEtY3

      Cypher 7 (Jeff Bova and Alex Haas) - Nothing Lasts (Yikes!) 1998 (2 CDs)
      https://workupload.com/archive/afQLhTHk

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    6. I know what this is. It's forced participation damn it, and I won't stand for it!

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  6. A great read...Thanks again, and another example of propaganda and group-think. I have all the posthumous releases and always loved Loose Ends.

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  7. I had a copy of this at a measly 192 which made it sound like it was going on down the hall somewhere. As a result of your generous 320 upgrade I can now fully get it. Thanks, as always.

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    1. You'll be telling us you know red from white wine without peeking, next.

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