Bunky Green (as, p); Randy Brecker (tr, flgn); Albert Dailey (p); Ronald Kubelik (p); Eddie Gómez (b); Frederick Waits (d)
Recorded on February 21 - 22, 1979
You may not be familiar with Bunky Green. He's never had a high profile in the world of jazz. Of course, there often no relationship between artists' abilities and their reputation, and that's certainly true with Bunky Green. If you're unfamiliar with him, you're in for a treat. He's a fantastic musician, and this LP is a gem!
Bunky Green made a series of records for Vanguard in the latter half of the decade. The first few were pitched towards crossover success, but Green was given free reign on Places We've Never Been, his final LP for the label. He assembled a superb band, the stars aligned, and Green made one of the best records of his career.
Steve Lacy (ss); Steve Potts (as, ss); Irene Aebi (vc, vn, vo); Kent Carter (b); Oliver Johnson (d)
Recorded on January 23, 1979
Fans of soprano saxophonist Steve Lacy should make a point of reading the outstanding collection of interviews compiled and edited by Jason Weiss, Steve Lacy: Conversations (Duke University Press, 2006). In the book, Lacy repeatedly points to his live recordings for hat Hut as the albums that please him the most. The Way is perhaps the most important of these, since it represents one of Lacy's large-scale compositions, a piece that returned to again and again that continued to evolve over time.
The band is also extraordinary. It's a cliché to say that that a band appears to communicate telepathically, but that's exactly how this group sounds. It's such a pleasure to hear them rip into this complex and visceral music with such confidence and abandon. And they swing so hard!
More Steve Lacy
Lacy was incredibly prolific throughout his career. Among the numerous discs that he made during the 1970s, here are some that I've particularly enjoyed:
- Clinkers (HatHut, 1977)
- Stamps (HatHut, 1977-78)
- The Owl (Saravah, 1977)
- Troubles (Black Saint, 1979)
- Capers (hat Hut, 1979); also released as N.Y. Capers and N.Y. Capers & Quirks
Eddie "Lockjaw" Davis (ts); Albert Dailey (p); George Duvivier (b); Victor Lewis (d)
Recorded on January 18, 1979
Eddie "Lockjaw" Davis was remarkably consistent throughout his career. With his growling tone and take-no-prisoners approach, it's nearly impossible to imagine him playing with indifference.
This session, originally recorded for Muse, benefits from a top-shelf rhythm section. The LP is one of the finest that Davis made during the 1970s.
More Eddie "Lockjaw" Davis
- Leapin' on Lenox (Black & Blue, 1974) - Swingin' Till the Girls Come Home (SteepleChase, 1976) - Straight Ahead - with the Tommy Flanagan Trio (Pablo, 1976) - Light and Lovely (Black & Blue, 1979); also released as Sweet and Lovely (Classic Jazz)
Poncho Sanchez (cga, vo); Gary Foster (as, fl); Steve Huffsteter (tr, flgn); Mayo Tiana (tb); Clare Fischer (p, el p, org); Humberto Cané (b); Alex Acuña (tim); Victor Pantoja (bgo); Johnny Nelson (vo, maracas)
Recorded on January 10, 1979
Poncho, the conguero's debut LP, is an outstanding Latin jazz session. Sanchez came to prominence in Cal Tjader's band, and he's accompanied here by Clare Fischer, who also worked extensively with Tjader. Several Fischer compositions are also featured, most notably "Morning," which -- along with "Pensativa" -- probably ranks as Fischer's most well-known composition.
This LP may not be easy to find, but it's well worth the effort to track it down.
Daniel Humair (d, perc); David Friedman (vib); Harvie Swartz (b)
Recorded on January 2, 1979
Daniel Humair's Triple Hip Trip features a trio configuration that you don't hear every day: Drums, bass, and vibraphone.
It works beautifully.
I presume that most listeners living in the United States are not familiar with this record, even if they know Humair, a Swiss drummer who's been a stalwart of the European jazz scene for decades. Triple Hip Trip was released on Frenchman Jean-Jacques Pussiau's Owl label in 1979. Unlike many Owl releases that were licensed by Inner City and/or Sunnyside, I don't think Trip Hip Trip has ever been released in North America.
In the 1960s, Zeitlin recorded a series of LPs for Columbia as something of a wunderkind. He made his first album while attending Johns Hopkins University School of Medicine. Like Eddie Henderson and Art Themen, Zeitlin eventually became one of the few practicing physicians who led an active second and simultaneous career as a jazz musician.
After Zeitlin's run with Columbia was over, he released Expansion (Double-Helix, 1973), a trio album with George Marsh and Mel Graves that earned a five-star rating in Downbeat magazine. This album and others from the period took advantage of synthesizers, electronics, and sound-altering devices with acoustic instruments to create music in a variety of genres. One of the most notable of these efforts was Zeitlin's score to to the remake of the science-fiction/horror film Invasion of the Body Snatchers (1978).
The album at hand, Soundings, represented a return to solo piano. It's beautiful music, thoughtful, expansive, and non-traditional.
Soundings was issued on a tiny independent label, and it has remained well below the radar of most jazz fans. Sadly, it's another album that's never been reissued in any digital format. However, you can buy the LP (autographed, even) and listen to sound samples on Denny Zeitlin's website.
Ross Tompkins (p); Al Cohn (ts); Monty Budwig (b); Nick Ceroli (d)
Recorded in 1978
Tompkins was an excellent pianist, probably best known for his long stint with The Tonight Show Band on the TV program The Tonight Show Starring Johnny Carson. Tompkins joined the band in 1971 and stayed until Carson's retirement in 1992!
Beginning in the mid-70s, Tompkins regularly recorded for Carl Jefferson's Concord label, both as a leader and sideman. On this particular album, Tompkins is supported by rock-solid playing from bassist Monty Budwig and drummer Nick Ceroli. But I will confess that Al Cohn is the reason that I couldn't resist adding Ross Tompkins and Good Friends to the survey. His saxophone playing is what makes this LP so special.
By the time of this recording, Al Cohn's dark-hued take on Lester Young had taken on a magisterial, Rollins-esque quality. From this listener's perspective, the best music of Cohn's entire career was made during this streak of sustained excellence.
Unfortunately, you'll have to take my word for it -- unless you still spin vinyl and are willing to track down a used copy. As far as I can tell, it's never been issued in any digital format.
Chico Freeman (ts, b cl); John Hicks (p); Cecil McBee (b); Jack DeJohnette (d)
Recorded in 1978
Listening to The Outside Within, it's not to hard to understand why Chico Freeman caused such a stir when he burst on the scene in the 1970s. It's a tremendous album, and it remains one of Chico Freeman's finest hours.
Arthur Blythe (as); James Newton (fl); Bob Stewart (tba); James "Blood" Ulmer (g); Cecil McBee (b); Jack DeJohnette (d); Guillermo Franco (perc)
Recorded in 1978
Reissued on a 2-CD BGO set in 2016, paired with In The Tradition, Illusions, and Blythe Spirit
An incredible album by the creative and distinctive altoist Arthur Blythe. ... And the band is incredible too. Check out Bob Stewart pumping out those bass tones on his tuba!
More Arthur Blythe
For more Arthur Blythe, see the albums included in the 2-disc BGO set described above.
Philip Catherine (g, g syn); Charlie Mariano (ss, as, fl, nadaswaram); Jasper van 't Hof (p, el p, org, syn, kalimba)
Recorded in December 1978 and February 1979
Purists should stay away from this Sleep My Love. The music billows with electronic sounds, from both Catherine's synth guitar and van 't Hof's array of keyboards. However, those who are willing put aside preconceived notions and embrace this music as it is will discover surreal and dream-like musical soundscapes conjured by these three masterful musicians.
Look for more from Charlie Mariano later in the survey.
John Abercrombie (g); Richie Beirach (p); George Mraz (b); Peter Donald (d)
Recorded in December 1978
Reissued as part of the 3-CD set John Abercrombie: The First Quartet (ECM, 2015)
This is the first LP from John Abercrombie's incredible first quartet with Richie Beirach, George Mraz, and Peter Donald.
I love this group so much, and -- for some strange reason -- they have been almost completely overlooked by both listeners and critics. From my perspective, this is a textbook example of 1970s jazz that made only a few ripples when it was released that deserves to be reassessed with open ears today.
Thankfully, ECM finally reissued this music in 2015. For many years, Arcade and the quartet's other two LPs -- M and John Abercrombie Quartet -- were out of print. I'm glad that more listeners now have an opportunity to hear this exquisite music.
More John Abercrombie
Of course, the "classic" Abercrombie album from the 1970s is Timeless (ECM, 1975) with Jan Hammer and Jack DeJohnette. The album is like a fast ride in a turbo-charged sports car.The music's power and crackling amplitude are very much in step with the times, following Hendrix and the many Hendrix-inspired fusion guitarists who came after him. That said, as much as I enjoy Timeless, I feel like the first quartet's subtlety and interplay are better aligned with Abercrombie's true musical temperament. Abercrombie-philes need to hear all three of their albums. As much as I love Arcade, M (ECM, 1981) just might be the best of the lot.
George Coleman (ts); Hilton Ruiz (p); Sam Jones (b); Billy Higgins (d)
Recorded on December 29, 1978
In essence, this quartet is three-fourths of the first incarnation of Cedar Walton's band Eastern Rebellion. George Coleman, Sam Jones, and Billy Higgins were in both groups; however, George Coleman takes the leader's role on this album, and Hilton Ruiz takes Walton's place at the piano.
This is superb straight-ahead jazz, executed at the highest level.
More George Coleman
In addition to Meditation [aka Dynamic Duo], Coleman's album of duets with Tete Montoliu (discussed earlier in this survey), listeners who would like to hear more from this brawny tenorist should seek out Big George (Affinity, 1979), a compelling octet date recorded in 1977.
Jimmy Forrest (ts); Shirley Scott (org); Randy Marsh (d)
Recorded on December 28, 1978
After working together in Count Basie's Orchestra, Jimmy Forrest and Al Grey formed a band with Shirley Scott. Somewhat surprisingly, Scott usually played piano with Forrest and Grey rather than organ, the instrument upon which her reputation was built.
Happily, in the case of this recording, Shirley Scott returns to the organ (for the most part). And one wonders if Al Grey had gone home for the holidays, since he's not present. Instead, the band is pared down to a classic configuration: the tenor-organ-drums combo.
Forrest is most well-known for his 1952 number one R&B hit record, "Night Train," a song he lifted from the Ellington songbook, where it was known as "Happy Go Lucky Local." Forrest revisits the song on this set -- even though he apparently came to detest it after playing it every night for so many years.
Forrest died just eight months after this recording was made. It was released posthumously by his widow, initially on the Palo Alto Jazz label and subsequently on Muse. But it's a special album. It's a testament to a certain kind of jazz -- maybe even an artistic sensibility -- that was already beginning to vanish by the end of the decade.
Zbigniew Seifert (vn); John Scofield (g); Richie Beirach (p); Eddie Gomez (b); Jack DeJohnette (d); Naná Vasconcelos (perc); unnamed strings
Recorded in November 1978
I suppose most jazz listeners (particularly those from the U.S.) are unfamiliar with the name Zbigniew Seifert. The Polish jazz violinist—known as “Zbiggy” to his friends—died of lung cancer at just 32 years of age. He only released a handful of recordings as a leader during his short life. But Seifert’s influence has been profound, particularly in his home country, where his music is held in especially high esteem. (One indicator of his home country’s regard: In 1996, the Polish government issued a postage stamp featuring a portrait of Seifert.)
Seifert attended the Fryderyk Chopin Musical High School in Kraków, graduating in 1970. His fascination with the music of John Coltrane led him to jazz, and Seifert regularly performed with his fellow-countryman Tomasz Stańko from 1967 to 1973. Initially, Seifert's primary instrument was the saxophone, but later he chose to focus on the violin. As Seifert’s reputation grew, he was invited to perform and record with many prominent European jazz musicians, including Volker Kriegel, Jasper van ‘t Hof, Joachim Kühn, Hans Koller, Wolfgang Dauner, Albert Mangelsdorff, and Chris Hinze. Seifert’s first recording as a leader, Man of the Light (MPS, 1977), took his career to even greater heights. Subsequently, Seifert signed a record deal with Capitol Records.
Passion was Seifert’s second album for Capitol, recorded in November 1978. Just a few months later, on Feburary 15, 1979, Seifert died. Even though he was terribly sick while making the record, the music bursts with vitality. In a 2019 interview, Richie Beirach, the pianist on Passion and one of Seifert’s close friends, explains:
"The last recording we did together was called Passion, and it’s a total motherfucker! Zbiggy, myself, Jack DeJohnette, John Scofield, Eddie Gomez and Naná Vasconcelos—plus a chamber orchestra consisting of the best players from the NY Philharmonic. Amazing original compositions for small group jazz ensemble and chamber orchestra. The record is out of print and never even came out on CD! The fools at Capitol Records still don’t know what they have and for some reason they won’t re-release it! It’s [Seifert’s] greatest recording and easily one of the most important recorded statements of contemporary jazz plus string ensemble ever! … By then he was already very ill and was undergoing heavy chemotherapy treatments. He lost weight and all of his hair, but was still on fire in the studio. You could see that he knew that this was going to be his last recording. We were all very moved and freaked out by his appearance, but buoyed by his absolutely iron will and powerful, inspired playing. He fired us up in a way that I have rarely heard."
Beirach also had this to say about Seifert:
"Zbiggy was like a Polish Icarus: Flying too close to the burning sun of creativity. The beating heart of Polish music and the living incarnation of the essence & spirit of Trane and McCoy, with the violin as the point of entry. He was the real source of contemporary jazz violin, copied by many without ever getting the true credit he deserved."
What Next?
If you’re new to Zbiggy and enjoy Passion, you should check out Man of the Light next. Unlike Passion, which has never been reissued in any digital format, Man of the Light is readily available.
Rodney Jones (g); Wallace Roney (tr); Arthur Blythe (as); Bob Mintzer (ts); Bernadine Davis (fl); Kenny Kirkland (p); Benjamin Brown (b, d); Bruce Johnson (b, 1 trk only); Kenwood Dennard (d); Bemshi Jones (vo)
Recorded in September 1978
Issued on the Dutchman Wim Wigt's Timeless label (and subsequently on Timeless Muse), Rodney Jones' Articulation is an album that has flown below the radar of most jazz fans. Jones is probably most well-known for his brief stint in Dizzy Gillespie's band.
On this album, he's supported by a superb group of young musicians. Arthur Blythe's contributions are especially notable.
Ira Sullivan (tr, flgn, fl, alto fl, ts, ss); Joe Diorio (g); John Heard (b); Billy Higgins (d); Kenneth Nash (perc, d, vo); Monty Budwig (b, 1 track only)
Recorded on September 20 - 21, 1978 and December 5, 1977
Like many jazz musicians, Ira Sullivan never received the recognition he deserved. He spent the early part of his career in Chicago and later moved to Florida. His instrumental prowess included both woodwinds (saxophones and flutes) as well as brass (trumpet and fluegelhorn). One could make the argument that no one in jazz history played such as diverse range of instruments with such complete mastery.
With the exception of one track, these two LPs were recorded during one two-day session in September 1978. The band is fantastic. It includes guitarist Joe Dioro, who frequently performed with Sullivan, and the impeccable rhythm team of John Heard and Billy Higgins. Percussionist Kenneth Nash sits in on a few tracks as well.
Neither of these Galaxy LPs have been reissued in digital format.
Max Roach (d); Anthony Braxton (as, ss, sopranino sax, clarinet)
Recorded on September 7, 1978
Reissued as part of Max Roach: The Complete Remastered Recordings on Black Saint & Soul Note (2015)
This album would make my short list of the finest jazz albums of the decade. It's that good.
Don't turn away from this record if Braxton doesn't normally appeal to you. Just listen! It's a tremendously exciting and interesting record!
More from Max Roach & Anthony Braxton
Roach and Braxton made one other duo album, recorded live at the 1979 Willisau Festival, One in Two - Two in One (Hat Hut, 1980). It's nearly as impressive as Birth and Rebirth.
Bill Barron (ts, ss); Jimmy Owens (tr); Kenny Barron (p); Buster Williams (b); Ed Blackwell (d)
Recorded in August 1978
This hidden gem is an outstanding LP from saxophonist Bill Barron, the older brother of pianist Kenny Barron. It features a dream rhythm section with brother Kenny, Buster Williams, and Ed Blackwell. The superb trumpeter Jimmy Owens, an NEA Jazz Master, accompanies Bill Barron on the front line.
The LP has never been issued in any digital format. If you spin vinyl, it's well worth tracking down. Bill Barron's saxophone voice is subtly distinctive, and the album is a delight.
More Bill Barron
I'm only aware of one other Barron recording made during the 1970s, Motivation (Savoy, 1972). It's harder to find than Jazz Caper, fetching high prices in the used marketplace.
Buddy Tate (ts, cl, fl); Arnett Cobb (ts); Eddie "Cleanhead" Vinson (as, vo); Ray Bryant (p); George Duvivier (d); Alan Dawson (d)
Recorded on August 25 - 26, 1978
Buddy Tate is another Texas Tenor who made his mark in the big band era. He joined Count Basie's band in 1939 as Herschel Evans' replacement. Like Evans, Tate has a large and appealing sound -- but his playing also has a subtle aspect. One wonders if something of Lester Young's oblique approach rubbed off on the younger Tate, who remained with the Basie organization for nearly a decade.
After recording infrequently during most of the 1960s, Tate had more opportunities in the 1970s, making albums for independent jazz labels like Chiaroscuro, Master Jazz, Storyville, Riff, Sonet, and Black & Blue.
Produced by Bob Porter, the albums that I've selected for the survey were made at Sandy's Jazz Revival, a long-standing Boston nightclub. Arnett Cobb and Eddie "Cleanhead" Vinson join Tate for a couple cuts, but mostly it's just Tate out front. That's one of the reasons I chose these LPs. Tate is featured prominently, and he's supported by an outstanding rhythm section. You could hardly do better than the trio of Ray Bryant, George Duvivier, and Alan Dawson.
I'm sad to note that, aside from a few tracks on a 32 Jazz compilation, these LPs have never been issued in any digital format. But, if you spin vinyl, they're well worth seeking out!
More Buddy Tate
- Unbroken (MPS, 1970) - with the Buddy Tate Celebrity Club Orchestra
- Buddy Tate and Wild Bill Davis; also released as Broadway (Black & Blue, 1973)
- Buddy Tate and His Buddies (Chiaroscuro, 1973) - with Illinois Jacquet and others
- The Texas Twister (Master Jazz/New World, 1975)
- Crazy Legs & Friday Strut (Sackville, 1977) - with Jay McShann
- Sherman Shuffle (Sackville, 1978) - with Bob Wilber
- Nice All Stars (Black & Blue, 1978) - with Cozy Cole, Wallace Davenport, and others
Sam Rivers (ts, ss, fl, p); Joe Daley (tu, bar hn); Dave Holland (b, vc); Thurman Barker (drums, perc)
Recorded on August 8, 1978
Sam Rivers' music is vital. You can jump into his extensive discography just about anywhere and you'll find fascinating music.
But I think his art is especially compelling in the second half of the 1970s. He made a series of small-group recordings that I think are special.
Waves is one of them. I'm not even sure that I'd describe it as his "best" or "strongest." It's just the one that I've enjoyed the most. Listening to it makes me think of Charles Ives. The sounds are so limitless and personal and cosmic.
More Sam Rivers
- Streams (ABC Impulse, 1973)
- Crystals (ABC Impulse, 1974)
- The Quest (Red, 1976)
- Sizzle (ABC Impulse, 1976)
- Paragon (Fluid, 1977)
- Contrasts (ECM, 1980)
The Lithuanian label No Business is in the process of issuing a series of releases culled from Rivers' archives. Three albums have been released so far, and a fourth is scheduled. I haven't heard them yet, but they're on my "to get" list! Word is they're excellent.
Anthony Davis (p); Leroy Jenkins (vn); Abdul Wadud (vc); Pheeroan akLaff (d)
Recorded on July 30 - 31, 1978
From this listener's perspective, pianist Anthony Davis is one of the most interesting musicians to emerge and initially make their mark in the 1970s.
Davis' art draws liberally from the world of contemporary classical music. You can see that in his choice of instrumentation on this LP. But his expressive and personal voice always makes his music seem idiomatic and immediate, regardless of style.
More Anthony Davis
Look for one of Davis' collaborations later in the survey.
Johnny Dyani (b); Dudu Pukwana (as); Don Cherry (cor); Makaya Ntshoko (d)
Recorded on July 18, 1978
Don Cherry joins South African bassist Johnny Dyani and two of his countrymen for this extraordinary and gorgeous set, dedicated to anti-apartheid activist Bantu Stephen Biko.
More Johnny Dyani
Look for more Johnny Dyani later in the survey. In the meantime, here are a few more albums that are easy to recommend:
- Witchdoctor's Son (Yonca/Matsuli, 1976) - with Okay Temiz
- Witchdoctor's Son (SteepleChase, 1978) - with John Tchicai & Dudu Pukwana
- Echoes from Africa (Enja, 1979) - with Abdullah Ibrahim
Mike Nock (p); Michael Brecker (ts); George Mraz (b); Al Foster (d)
Recorded on July 7, 1978
In the late-60s and early-70s, New Zealander Mike Nock was a member of The Fourth Way, a pioneering electric jazz fusion group with Michael White, Ron McClure, and Eddie Marshall based in San Francisco. While in the group, Nock largely focused on the Fender Rhodes electric piano.
That's not the case with In, Out and Around. This Timeless LP is an all-acoustic set. The compositions are interesting, and the band is exceptional.
More Mike Nock
- Werwolf (Harvest, 1970) - with The Fourth Way
- Between or Beyond (MPS, 1971)
- The Opal Heart (Enja, 1979) - with David Liebman
Arnett Cobb (ts); Derek Smith (p); George Mraz (b); Billy Hart (d)
Recorded on June 27, 1978
Arnett Cobb first made a splash with Lionel Hampton's orchestra. In 1942, he replaced Illinois Jacquet in Hampton's band and became the second Texas Tenor associated with the hit "Flying Home." After leaving Hampton in 1947, he led his own small units, recording frequently until 1960.
This 1978 LP is titled Arnett Cobb is Back because it ended an 18-year recording drought -- at least for U.S.-based labels. American listeners were likely unaware that Cobb had begun making a series of excellent recordings, both as a leader and sideman, for the French Black & Blue label in the early-70s. Recorded in 1974 and 1976, The Wild Man from Texas (Black & Blue, 1977) is especially notable. The LP's title was one of Cobb's nicknames, based on his uninhibited and extroverted playing style. The U.S.-based Classic Jazz label licensed the recording and released it in the U.S. in 1978.
In fact, 1978 seems to mark a burst of activity for Cobb, at least from a recording point of view. After recording this exemplary Progressive disc, just two months later Cobb recorded two excellent LPs for Muse: Live at Sandy's (rel. 1979) and More Live at Sandy's (rel. 1983).
All of these albums represent Cobb at his late-career best.
