Billy Harper – Capra Black (Strata-East, 1973)

Billy Harper (ts, vo); Jimmy Owens (tr); Dick Griffin (tb); Julian Priester (tb); George Cables (p); Reggie Workman (b); Billy Cobham (d); Elvin Jones (d); Warren Smith (d); Barbara Grant (vo); Gene McDaniels (vo); Laveda Johnson (vo); Pat Robinson (vo)

Recorded in 1973

Reissued by Pure Pleasure [limited edition vinyl]

Ray Barretto – The Other Road (Fania, 1973)

Ray Barretto (cga, talking d, Chinese bell tree); Art Webb (fl); Roberto Rodriguez (tr); Joseph Roman (tr); Manny Duran (tr, flgn); Eddy Martinez (p, el p); Guillermo Edghill (el b); Billy Cobham (d); Ray Romero (tim); Tony Fuentes (bgo, cowbell)

Recorded in 1973

Dick Wellstood & His Famous Orchestra featuring Kenny Davern (Chiaroscuro, 1974)

Dick Wellstood (p); Kenny Davern (ss, cl)

Recorded in December 1973

Flora Purim – Butterfly Dreams (Milestone, 1973)

Flora Purim (vo, arr); Joe Henderson (ts, fl); David Amaro (g); George Duke (el p, p, clavinet, syn); Stanley Clarke (b, el b); Airto Moreira (d, perc); Ernie Hood (zither)

Recorded in December 1973

Bob Wilber & Kenny Davern – Soprano Summit (World Jazz)

Bob Wilber (ss, cl); Kenny Davern (ss, cl); Bucky Pizzarelli (g, banjo); Dick Hyman (p); George Duvivier (b); Milt Hinton (b); Bobby Rosengarden (d); Tommy Benford (d)

Recorded in December 1973, April 1974 & December 1977

CD is a reissue of two World Jazz LPs: Soprano Summit (1975) [less two tracks] and Soprano Summit II (undated, 1978?)

Eric Kloss – Essence (Muse, 1974)

Eric Kloss (as, ts); Hannibal Marvin Peterson [Hannibal Lokumbe] (tr); Mickey Tucker (p, el p); Buster Williams (b); Ron Krasinski (d); Sonny Morgan (perc)

Recorded on December 14, 1973

John Surman – Morning Glory (Antilles/Fledg'ling, 1973)

John Surman (b cl, ss, syn); Malcolm Griffiths (tb); Terje Rypdal (g); John Taylor (p, el p); Chris Laurence (b); John Marshall (d)

Recorded on December 3, 1973

Duke Jordan – Flight to Denmark (SteepleChase/Inner City, 1974)

Duke Jordan (p); Mads Vinding (b); Ed Thigpen (d)

Recorded on November 25 & December 2, 1973

Norman Connors – Love from the Sun (Buddah, 1973)

Norman Connors (d); Gary Bartz (as, ss); Carlos Garnett (ts, ss); Hubert Laws (fl, al fl); Eddie Henderson (tr, cor, fghn); Herbie Hancock (p, el p); Onaje Allan Gumbs (p, el p); Buster Williams (b); Bill Summers (perc, vo); Kenneth Nash (perc, d); Nathan Rubin (vn); Terry Adams (vc); Dee Dee Bridgewater (vo)

Recorded in October 1973

Reissued on CD paired with Slewfoot on Funkytowngrooves in the UK.

Dave Liebman – Lookout Farm (ECM, 1974)

Dave Liebman (ss, ts, alto fl); John Abercrombie (g); Richie Beirach (p, el p); Frank Tusa (b); Jeff Williams (d); Armen Halburian (perc); Don Alias (cga, bgo); Badal Roy (tabla); Steve Sattan (perc); Eleana Sternberg (vo) 

Recorded on October 10-11, 1973


As for the title of the album, "Lookout Farm" is the name of painter Eugene Gregan's home in Napanoch, New York.  In the early 1970s, Gregan served as a sort of artistic mentor to David Liebman and Richie Beirach.  Several of their subsequent albums feature Gregan's paintings on the cover, including Liebman's Drum Ode (ECM, 1974) and Pendulum (Artists House, 1979), as well as Beirach's Eon (ECM, 1975) and Kahuna (with Masahiko Togashi, Trio, 1978).

Returning to the LP at hand, Liebman also took Lookout Farm as the name of his working group.  Along with the Liebman and Beirach, the quintet featured Frank Tusa, Jeff Williams, and Badal Roy.  For their debut recording, guitarist John Abercrombie and three percussionists were added.  Eleana Sternberg also contributed wordless vocals.

Despite the fact that this was Liebman's first album to receive widespread issue (an earlier LP had been released in Japan only), the music is remarkably assured.  Liebman's strengths as a composer and instrumentalist are already on full display.  The band is also a remarkable unit, and Liebman's seemingly telepathic connection with Richie Beirach is already evident.

[Like many ECM releases, no videos from this album are available on the internet.]

For many years, it seemed like Liebman and his music were unfairly overlooked.   However, the tide seems to have turned in recent years.  In 2011, Liebman was honored as a Jazz Master by the National Endowment for the Arts.   Liebman's remarkable consistency and commitment to the music is evident every time he picks up his horn. 

More from David Liebman
Liebman's second LP for ECM, Drum Ode (1975), was also his last for the label.  The music is a remarkable tribute to drums and drumming.  Sadly, Liebman had a falling out with producer Manfred Eicher during the recording session.  They've never collaborated again.  Pendulum (Artists House, 1979) is another high point in Lieb's 1970s discography.  (In 2008, Mosaic reissued this music in one of their limited-edition "Select" sets.)  Shortly afterwards, Liebman formed an excellent and little-remembered quintet with an all-star line-up consisting of trumpeter Terumasa Hino, guitarist John Scofield, bassist Ron McClure, and drummer Adam Nussbaum.  Recorded in 1979, their album Doin' It Again (Timeless, 1980) is well worth investigating.

Later in the survey, I'll explore one of Liebman's sublime duo collaborations with Richie Beirach.

Don Patterson – These Are Soulful Days (Muse, 1974)

Don Patterson (org); Jimmy Heath (ts); Pat Martino (g); Albert "Tootie" Heath (d)

Recorded on September 17, 1973

Reissued on 32 Jazz as Steady Comin' at Ya (1998, with three bonus tracks)


When I think of Don Patterson, two hard-hitting tenor saxophonists with whom the organist often worked immediately come to mind: Sonny Stitt and Booker Ervin.  But on this session, the tenor saxophone chair is occupied by Jimmy Heath.  I sometimes wonder if Jimmy and his drumming brother Albert influenced this session.  These Are Soulful Days may be less heated than some of the Patterson sessions that preceded it, but there's no less soul.  And the music gains a measure of refinement and poise that one often associates with the Heath Brothers.

Pat Martino also adds his wonderful and inimitable guitar stylings to the date.  Not surprisingly, Martino's staccato, rat-a-tat-tat-tat sound meshes perfectly with Patterson's wailing Hammond B3.

Art Ensemble of Chicago – Fanfare for the Warriors (Atlantic/Koch, 1974)

Lester Bowie (tr, perc); Joseph Jarman (saxophones, cl, perc, vo); Roscoe Mitchell (saxophones, perc); Muhal Richard Abrams (p); Malachi Favors Maghostut (b, perc, vo); Don Moye (d, perc)

Recorded on September 6-8, 1973


This 1973 studio session is the Art Ensemble of Chicago (AEC) disc that I pull from the shelf most frequently.  

By consciously disregarding convention and seeking new forms of expression, the AEC dramatically expanded the potential and vocabulary of jazz.  

Ironically, like a handful of other great musical revolutionaries, the AEC's outward trajectory is comes out of a deep love and abiding respect for the tradition in which they're rooted.  The way that they deconstruct forms and approach sounds that are familiar and rebuild them in kaleidoscopic, otherworldly ways reminds me of Charles Ives.  Of course, Ives was coming out of very different musical traditions (Western classical music, Protestant hymnody, etc.), compared to the AEC.  Nonetheless, in both instances of listening to their music, we're forced to (re)encounter sounds that seems both familiar and strange, prompting us to re-assess arbitrary boundaries and conventions while simultaneously paying homage to what has come before.   

The following tracks are the first four cuts on the album.  Each is composed by a different member of the ensemble:  Favors, Bowie, Mitchell, and Jarman, respectively. 

Dudu Pukwana & Spear – In the Townships (Caroline/Earthworks, 1974)

Dudu Pukwana (as, p, cga, perc, vo, arr); Bizo Mngqikana (ts, perc, vo); Mongezi Feza (tr, cga, perc, vo); Harry Miller (b, el-b); Louis Moholo (d, perc)

Recorded on August 25 and November 10, 1973

This is urgent, raucous, and joyous Cape Jazz from Dudu Pukwana.  It's bursting with vitality.  

Pukwana made lasting and considerable contributions to two albums already covered in this survey: Chris MacGregor's Brotherhood of Breath and Hugh Masakela's Home Is Where the Music Is.  

But I think In the Townships is Pukwana's finest hour.  

Since this album is out-of-print and may be difficult to find, I've inserted links to the LP's seven cuts below.  If you're unfamiliar with this music, give these tracks a listen and see if you aren't won over by this irresistible music -- just like I was! 

George Benson – Body Talk (CTI, 1973)

George Benson (g); Jon Faddis (tr); John Gatchall (tr); Waymon Reed (tr); Frank Foster (ts); Gerald Chamberlain (tb); Dick Griffin (tb); Earl Klugh (g); Harold Mabern (el p); Ron Carter (b); Gary King (el b); Jack DeJohnette (d); Mobutu (perc); Pee Wee Ellis (arr, cond)

Recorded on July 17, 1973


My father was a George Benson fan, so I grew up listening to his records.  I still associate Benson's Weekend in L.A. (Warner Brothers, 1978) with my dad, and I could have easily chosen that double-album for this survey.  

On the other hand, it seems like the critical consensus choice would have been Beyond the Blue Horizon (CTI, 1971), Benson's first LP on Creed Taylor's label.  It's another excellent outing.

But I've selected Body Talk.  One reason: I love Pee Wee Ellis' arrangements.  They capture something of Benson's swaggering, lyrical toughness.  And they're not too heavy; they add some soulful heft without weighing down the music.

Benson of course plays beautifully.  And, given the players in the rhythm section, it's no surprise that the music both grooves and swings like mad.

Hampton Hawes – Live at the Jazz Showcase in Chicago, Vol. 1 (Enja, 1981) and Vol. 2 (Enja, 1989)

Hampton Hawes (p); Cecil McBee (b); Roy Haynes (d)

Recorded in June 1973

Terumasa Hino – Taro's Mood (Enja, 1973)

Terumasa Hino (tr); Mikio Masuda (p); Yoshio Ikeda (b); Motohiko Hino (d); Yuji Imamura (cga)

Recorded on June 29, 1973

Mike Gibbs & Gary Burton – "In the Common Interest" (Polydor, 1974)

Mike Gibbs (composer, arr, cond); Gary Burton (vib); Randy Brecker (tr, flgn); Marvin Stamm (tr, flgn); Pat Stout (tr, flgn); Jeff Stout (tr, flgn); Michael Brecker (ts, ss); Harvey Wainapel (as, ss); Paul Moen (ts, ss, fl); Bill Watrous (tb); Wayne Andre (tb); Paul Falise (b tb); Dave Taylor (b tb, tba); George Ricci (vc); Alan Schulman (vc); Pat Rebillot (el p, org); Allan Zavod (p, el p); Mick Goodrick (g); Steve Swallow (b); Harry Blazer (d); Bob Moses (d); Warren Smith (perc)

Recorded on June 25 - 26, 1973

John Lee & Gerry Brown – Infinite Jones aka Bamboo Madness (Keytone/Limetree, 1974)

Originally issed on LP as Infinite Jones on Keytone Records in 1974; CD reissued in 1995 as Bamboo Madness on Limetree

John Lee (b, el b, perc); Gerry Brown (d, perc); Gary Bartz (as, ss, whistle, perc); Chris Hinze (fl, al fl, b fl, pic fl); Jasper van 't Hof (org, el p); Rob van den Broeck (p, el p); Hubert Eaves (p, el p, perc); Wim Stolwijk (p, vo); Howard King (perc); Henny Vonk (perc, vo)

Recorded on June 23 - 24, 1973

Abbey Lincoln – People in Me (Philips Japan/Inner City/Verve, 1973)

Abbey Lincoln (vo); David Liebman (ss, ts, fl); Hiromasa Suzuki (p); Kunimitsu Inaba (b); Al Foster (d); James Mtume (cga)

Recorded on June 23, 1973

Marion Brown – Geechee Recollections (Impulse, 1973) and Sweet Earth Flying (Impulse, 1974)

Collective personnel: Marion Brown (as, ss, cl, perc); Wadada Leo Smith (tr, perc); Muhal Richard Abrams (p, el p, org); Paul Bley (p, el p, org); James Jefferson (b, vc, perc); Steve McCall (d, perc); A. Kobena Adzenyah (perc, idiophone); Bill Hasson (perc, narration); William Malone (mbira, autoharp, perc); Jumma Santos (cga, perc) 

Recorded on June 4 - 5, 1973 and May 6 - 7, 1974

Clare Fischer – The State of His Art (Revelation, 1976) and Jazz Song (Revelation, 1979)

Clare Fischer (p)

Recorded in May 1973

Gil Evans – Svengali (Atlantic, 1973)

Gil Evans (p, arr, cond); David Sanborn (as); Trevor Koehler (fl, bs, ss); Billy Harper (ts, fl); Hannibal Marvin Peterson [Hannibal Lokumbe] (tr); Richard Williams (tr); Tex Allen (tr); Joseph Daley (tb, tu); Howard Johnson (tu, flgn, bs); Peter Levin (Fr hn); Sharon Freeman (Fr hn); Ted Dunbar (el g); David Horowitz (syn); Herb Bushler (el b); Bruce Ditmas (d); Susan Evans (perc) 

Recorded on May 30 and June 30, 1973

Svengali in the survey?  Well, yeah.  Duh.

Airto Moreira – Fingers (CTI, 1973)

Airto (perc, vo, d); David Amaro (g); Hugo Fattoruso (kybd, vo); Ringo Thielmann (b, vo); Jorge Fattoruso (d, vo); Flora Purim (vo, perc) 

Recorded on April 9, 17 and 18, 1973

Airto's Free (CTI, 1972) is probably a more "culturally significant" record. 

And Airto's first two LPs for Buddah Records are probably "better" LPs.  (They're collected on a 2-LP set/single CD as The Essential Airto.)  

But Fingers is my FAVORITE.  This is Airto's band.  The music is totally distinctive, a heady mix of jazz, MBP, and rock. 

More Airto
Listen to everything Airto made as drummer, percussionist, and producer. All of it. He's an unacknowledged giant.

Woody Herman – Giant Steps (Fantasy, 1973)

Woody Herman (cl, as, ss); Greg Herbert (ts, picc fl, alto fl); Frank Tiberi (ts); Steve Lederer (ts); Harry Kleintank (ts, bs); Bill Byrne (tr); Gil Rathel (tr); Larry Pyatt (tr); Walt Blanton (tr); Bill Stapleton (tr, flgn); Geoff Sharp (tb); Jim Pugh (tb); Harold Garrett (b tb); Joe Beck (g); Andy LaVerne (el p); Wayne Darling (b); Ed Soph (d); Ray Baretto (cga)

Recorded on April 9 - 12, 1973

Woody Herman and his bands were like the Energizer Bunny.  They just kept going and going and going and going...  Furthermore, he continued to make vital music into the 1970s and beyond.  I think Giant Steps is the strongest release, top-to-bottom, from his latter years.

Ian Carr with Nucleus Plus – Labyrinth (Vertigo, 1973)

Ian Carr (tr, flgn); Kenny Wheeler (tr, flgn); Tony Coe (ts, cl, b cl); Brian Smith (ts, ss, fl); Dave McRae (el p); Gordon Beck (el p); Paddy Kingsland (syn); Roy Babbington (el b); Clive Thacker (d); Tony Levin (d); Trevor Tomkins (perc); Norma Winstone (vo)

Recorded in March 1973

Reissued on BGO paired with Roots (1973); also reissued as part of the 6-CD set Torrid Zone: The Vertigo Recordings, 1970-1975 on Esoteric Records in the UK (2019)


Utterly brilliant music with amazing vocal contributions from Norma Winstone.  

Also, another example of British-Jazz that marries exceptional musicianship with distinctive and ambitious compositions.

João Donato & Eumir Deodato – Donato/Deodato (Muse, 1973)

João Donato (kybd); Eumir Deodato (kybd, arr, cond); Randy Brecker (tr); Michael Gibson (tb); Romeo Penque (fl, whistle); Mauricio Einhorn (harmonica); Bob Rose (g); Dud Bascomb (el b); Allan Schwartzberg (d); Airto Moreira (perc); Ray Baretto (cga)

Recorded on March 26 and April 10, 1973

Reissued on 32 Jazz as João Donato: Arranged & Conducted by Deodato (1999)

Brazilian pianist João Donato connnected with Muse's Joe Fields while performing as a sideman for fellow Brazilian Dom Um Romão.  For some reason, Romão doesn't appear on the record.  Instead, Airto Moreira takes his place.  (Maybe Romão was on the road with Weather Report?)  Ray Barretto is also on board, making for one helluva percussion section.

When Muse released this record in 1973, they chose to credit Eumir Deodato as the co-leader. That turned out to be a big mistake, since Deodato was under exclusive contract with CTI.  After some wrangling, the lawyers sorted it all out.  But you'll notice that the 32 Jazz reissue gives leadership credit solely to João Donato. 

Like so much Brazilian music, this is joyous and irresistible.  I actually prefer Deodato's work here to any of his solo releases.

Check out the super-funky opening cut, "Whistle Stop":

I intend to explore more of Donato's discography.  Thus far, aside from this record, I've only heard Donato as a sideman; most notably with Mongo Santamaria. 

Wax Poetics published a very interesting article on Donato.  If you would like to read it, click here.

Cecil Payne & Duke Jordan – Brooklyn Brothers (Muse/Elemental, 1973)

Cecil Payne (bs, fl); Duke Jordan (p); Sam Jones (b); Al Foster (d)

Recorded on March 16, 1973

Perfection of a sort.  No one tries too hard -- and I mean that in the best possible way.  Great tunes.  Beautiful musicianship.  Effortless swing.

And how about Cecil Payne!  He makes that big horn dance like Fred Astaire.

Pour yourself a stiff drink, sit back, and soak in the beautiful music. 

More Cecil Payne
For more prime Cecil from the 1970s, check out Bird Gets the Worm (Muse, 1976).  It also features Payne's Brooklyn brother Duke Jordan in the piano chair.  Tom Harrell is a second voice on the front line. And the rhythm section is rounded out by Buster Williams and Al Foster.  ... No wonder it sounds so good.

Look for more Duke Jordan later in the survey.

Eddie Henderson – Realization (Capricorn, 1973)

"Mganga" Eddie Henderson (tr, cor, flgn); "Mwile" Bennie Maupin (fl, al fl, strich, ts, b cl); "Mwandishi" Herbie Hancock (el p); Patrick Gleeson (syn, org); "Mchezaji" Buster Williams (b, el b); "Jabali" Billy Hart (d, perc); Lenny White (d)

Recorded on February 27 - 28, 1973

Reissued on CD as part of Eddie Henderson Anthology, Vol. 2: The Capricorn Years (Soul Brother, UK)

One look at the line-up and you'll see that it's Herbie Hancock's Mwandishi group with Eddie Henderson in the driver's seat.  Given the ridiculous assembly of talent in that band, I suppose it's no surprise that this music is nearly as compelling as the music released in Herbie's name.  

More Eddie Henderson

Henderson's follow up record, Inside Out (Capricorn, 1974), is comparable to Realization, and it also features the same personnel from Herbie's Mwandishi band.  If you enjoy Realization, it's well worth seeking out.