Quincy Jones - Big Band Bossa Nova (1964)

For the next few albums, I'm trying to post things that remind me of summer. There's something about bossa nova and its Brazilian origin that remind me of summer and some great memories. This album is undoubtedly a product of its time, released in the height of the bossa nova craze. However, that's not to say that it's bad at all. It is a mixture of well-known bossa nova classics such as "Desafinado," "Manha de Carnaval" from the film Black Orpheus, and "One Note Samba." Yet, there are some bossa nova originals such as "Soul Bossa Nova," famous for its use in the Austin Powers films and "Lalo Bossa Nova" from composer/arranger Lalo Schifrin. In fact, this whole album is arranged by Lalo, so the arrangements are of a very high quality. Anyone who is the musical director for Dizzy Gillespie knows what they are doing when they arrange. The strangest aspect of this album are the tracks "On the Street Where You Live" from the musical My Fair Lady and "Boogie Stop Shuffle" from the 1959 Mingus album Mingus Ah Um which are arranged in a bossa nova style. This album was released in the same year Jones was promoted to vice president of Mercury Records so he obviously had a lot of control over this record. His position in the company probably explains the high quality of the personnel on the record including such greats as Phil Woods, Clark Terry, Lalo Schifrin, and Rahsaan Roland Kirk who plays the famous flute part on "Soul Bossa Nova." In some ways this is an album that is a novelty, but when you review the music and the minds behind it, it's worth giving a listen. This particular version has two bonus tracks including "Chega de Saudade (No More Blues)" and "A Taste of Honey."

Sammy Nestico - Dark Orchid (1982)

Not to say this album is bad, but it is a strange album for a variety of reasons. This album defies time period. Despite being released in 1982, this seems like an album much more at home in the mid to late 70s with its funky beats and Rhodes piano. Yes, there is original material, but Nestico brings back reworked versions of Basie classics. It is important to note that even if you don't know the name Sammy Nestico, you probably know Count Basie. Nestico arranged a fair amount of material for Basie and some of his most well-known charts at that. Still, the Basie material is in vast contrast with the rest of the album as well as time period. This album defies typical big band instrumentation to some degree. Sure, most of the sections are very typical, but the harmonized flute sections and the melodic synthesizer is something pretty atypical for a big band record. What may be most strange is that this album is funk in some sections, yet even in funk it still swings. This may very well be the only album in a theoretical sub-genre of funk swing, when you consider the funk feel in the rhythm section with swing feel in the orchestrated parts of the horns. Yet, despite the bizarre nature of some parts of this album, it still has some great moments. Track highlights include "This Is Love" and "Shoreline Drive" showing off the soloistic virtuosity of trombonist Bill Watrous and tenor saxophonist Pete Christlieb respectively. On "This Is Love" Watrous' trombone is in unison with  his own overdubbed whistling. This is worth a listen if only for the first four tracks which represent the "funk swing." This album is also very difficult to find, even on vinyl.

Renaissance - Scheherazade and Other Stories (1975)

Another gem in the sub-genre of symphonic progressive rock, this album is most notable for the suite "Song of Scheherazade." The suite is definitely the magnum opus of the album and one of the highlights of the Renaissance discography. Backed up by the London Symphony Orchestra, it seems appropriate to draw parallels between this album and the Moody Blues' Days of Future Passed. The orchestra is not at the forefront of the suite, as it sticks to mostly background material, but it does add a lot of character to the song. In the beginning where the brass seems to harken the beginning of an epic story to the climax at the end of the suite, the orchestra covers various styles from a variety of influences. A personal favorite is in one of the opening sections where the listener heres the male vocalist for the first time. Interestingly it is in an Arab maqam (mode) called the Bayati, or what in the Western world we would refer to as the double harmonic scale. Scheherazade is the storyteller in the literary work Arabian Nights and it was guitarist Michael Dunford's obsession with the work that led to the suite. Thus, it is not surprising of the lyrical mention of sultans and the use of non-Western scales. Besides "Song of Scheherazade," which is hands-down the most ambitious part of the album, tracks like "Trip to the Fair" are interesting for their use of unusual instruments such as a music box. I once heard that the music box was made solely for this song, but I don't have a definitive source to back up this statement. Even if this album doesn't necessarily use the orchestra to its full potential, it is hard to be disappointed with the core group. Annie Haslam's soprano is always impressive especially in the upper register parts in "Song of Scheherazade." Where I may view Days of Future Passed as a great concept album bringing together rock and classical, I tend to view this album as the group Renaissance playing separately from the London Symphony Orchestra. That is to say that the orchestra is creating a mood that the group is playing within. Simply for the concept of "Song of Scheherazade" and the product embracing both Middle Eastern and Western concepts this is album is worth a listen.

Maynard Ferguson - A Message from Birdland (1960)

From the first thirty seconds of the album where Maynard's unmistakable voice can be heard counting off an arrangement of Sonny Rollin's "Oleo" to the first notes of the unison melody, the listener can be sure that this a fantastic album. About half of this album is original material, while the other material is stuff of the day in addition to charts from Maynard's past. One such chart "Stella by Starlight" was probably introduced to Maynard during his days with Stan Kenton. Fans of the 70s "Disco Maynard" may have a hard time enjoying this, but nonetheless this is the period of his best material. Normally I would preface this statement with "in my own opinion," but this is undoubtedly his best material. This is the era of Maynard playing beautiful melodies in the high register with actual taste. Sure it didn't give chart toppers or commercial appeal, but it doesn't rely solely on his ability to play high notes with "kiss-offs." It is also important to mention that Maynard's tradition of having great musical arrangers that he referred to as musical directors began. Willie Maiden is a relatively unknown person in jazz history, yet his arrangements and original material on "Back in the Satellite Again" and "Three More Foxes" is of the highest quality. It is a shame that Maiden is not a more well known figure or that he died at the early age of 48 in 1976 and did not have a chance to make a bigger name for himself. There's also a fantastic arranger and performer in Slide Hampton whose contribution "The Mark of Jazz" is definitely one of the highlights of the album showing off the virtuosity of both himself and Maynard. Even with the high quality of the album, its hard to believe its live. To the nearly inaudible note in "Blue Birdland," this album almost sounds too good to be live.

Gino Vannelli - Crazy Life (1973)

This may be one of the most random, out-there posts I ever make. Gino Vannelli is definitely a pop figure, but there is a jazz sensibility on some of material that he releases. It may surprise many that are familiar with Gino Vannelli that he actually attended McGill for composition. In that regard, the harmonic and rhythmic content of his songs indicate that he is a trained composer and musician. Strangely enough, Vannelli's heavy use of chromatic harmony and the rhythmic basis for some of the tracks of this album actually remind me a lot of Jobim. This is his first release after Herb Alpert at A&M Records gave Vannelli and his brothers a contract. Tracks like "There's No Time" and "Crazy Life" anticipate Vannelli's later commercial success with his genius composition of ballads. It is important to note that Joe Vannelli, the group's keyboardist, arranged all the material and the good tracks on this album owe a lot to his arranging skills. As is true with many of Vannelli's early albums, the lyrics are either absurd or just plain bad on some of the tracks. This is one of those albums that I listen to the memorable melodies, rather than immersing myself in the lyrics. Even though this is a bizarre album to post, in my own opinion makes some fine crossover pop music, and this is where it all began. The single most amazing thing about this album may be the fact that it really is ahead of its time. Much of the instrumentation and electronic sound of this album is a few years ahead of its heyday.

Don Ellis - Tears of Joy (1971)

In many regards, Tears of Joy may be Don Ellis' magnum opus of his entire career. The incorporation of string instruments adds a lot to his vast exploration of styles, tones, and colors that make this album a real treat to listen to.  John Hammond at Columbia wondered why Ellis would forsake a successful lineup that began with 1967's Electric Bath. Simply, it seems that Ellis just wanted to experiment and continue to innovate as he had in his early years. Tears of Joy backs off a little on the use of unusual time signatures and some of the heavy use of electronics that was present in previous albums, but continue to amaze the listener of how he can write for an ensemble as well as delving further into quarter tonal improvisation. However, "Tears of Joy" still has Ellis using a ring modulator to layer frequencies and "Bulgarian Bulge" in 33/16 and 35/16, shows that he never intended on abandoning what made his music. There are great "tongue-in-cheek" laughs to be had listening to the track "Blues in Elf" an 11/8 (3 3 3 2) blues that opens with a transposed Moonlight Sonata by Milcho Leviev. A personal favorite on the album is the track "Quiet Longing" due to its exploration into light orchestration as it opens and the tone colors that present an intensely emotional piece. "Quiet Longing" is a perfect example of how the string quartet really opened possibilities for Ellis as a writer. Another personal favorite, "Loss" seems to have a similar sound quality to some Asian music in the string parts. The sound quality remind me a lot of the sound of the kokyu, a Japanese bowed instrument. The real masterpiece of the album and Ellis' career is undoubtedly the track "Strawberry Soup." The track opens with the strings and winds improvising. It's important to note that they are improvising, because to the listener it will sound like it is what is written. The rhythmic superimposition of 9 is quite remarkable; 9/2, 9/4, and 9/8 are overlapping rhythmic ideas that often interlock so well, one might not realize this feat. The sheer amount of moods and voicings used in this track in unbelievable. There is the interplay of strings and woodwinds in the beginnings, the transition to the full ensemble aided by a French Horn, and the numerous solos in the seventeen and a half minute piece that show how mature of a writer Don Ellis was for his time. I often think this is the furthest that "big band" jazz has come in its entire history. Sure, there are many writers of today that are experimenting and writing good original material, but they don't have the worldly view and the vast concept of music that Don Ellis had.

Electric Flag - A Long Time Comin' (1968)

For being a debut album, A Long Time Comin' is both remarkable for the ambition put into a first release, but also for the quality of its material. Original tracks such as "Over-Lovin' You," "Texas," and "Mystery" are quality songs, but the strength in the album really lies in the instrumental aspects. For example, the instrumental sections in "Sunny" are unexpected but show an understanding of musical transition. The album features a small backing group of horns on the majority of the album, a rarity for the time, which really add a lot to the backgrounds of the tracks as well as presenting some great solos.  It is hard to classify this album solely as blues rock as  there are some aspects of psychedelia such as the opening of "Over-Lovin' You" on electric harpsichord as well the influence of jazz. In some respects it is surprising that the Electric Flag was not more successful or is not more well known. The material is decent, the ideas and concept of the group are original, and Mike Bloomfield can play guitar. In all seriousness, Mike Bloomfield introducing you to the unforgettable sounds of Chicago blues is enough to justify listening to this album. In many ways, this album is a product of its time being released during the waning years of the psychedelia and the beginning of the jazz rock and blues rock crazes. The Electric Flag seems to try to embrace a variety of influences of its time and create an entirely original product. They definitely succeed, but the acceptance of this music is based on the dominating trends of their time.

Antônio Carlos Jobim - Stone Flower (1970)

While not the most well known Jobim album per se, Stone Flower definitely takes many more risks than previous efforts like 1967's Wave. While it has the same laid back feel with close harmonies, Stone Flower often entertains the ear by taking chord progressions and lush orchestrations that Wave had to the next level. One chief reason for the change in sound and conception is that the orchestrations are done by Eumir Deodato, rather than Claus Ogerman in Wave. Tracks like "Amparo " or "God and the Devil in the Land of the Sun" have unusual instrumentations and rhythmic content that proves that the album is more than just simply latin, or specifically bossa nova. With this album, Jobim was no longer "riding off of the coattails" of the bossa nova craze of the early-to-mid 1960s. While many consider write Jobim off and classify him as a "Brazilian" or "Latin" composer, Jobim's embrace of jazz is practically second to no one in Latin music. Some music critics today may argue that Jobim's music is not jazz. It doesn't swing, but just listen to "Tereza My Love" or "Sabia" and deny jazz as an influence to Jobim's music. Many times, critics like to attach genres to labels in order to easily classify and create a sort of technical jargon. Often times, though, there is the problematic artist that just doesn't "fit" in a genre. Sure there are Latin elements in Jobim's music like the eternal presence of the danzon rhythm, but I don't think many Latin artists have the talented personnel nor mature conception of jazz that Jobim utilizes on his albums. Like many Jobim albums, he is often behind the keys and lends his voice to the tracks "Sabia" and "Brazil." A rarity for a Jobim album, there is a cover of the Ary Barroso's famous tune "Brazil." On this reissued version, there is a alternate take of Brazil which is much more staccato and includes some orchestration, in which regard the original take is the complete opposite.

Blood, Sweat & Tears - Child is Father to the Man (1968)

The title of the first Blood, Sweat & Tears album is taking from a Gerard Manley Hopkins and tells a lot about the album in a few words. Like the origin of the title, the album is literary and artistic. Many of the critics of this album state that there is no single. That many be true, but it might just be that there is no track that stands out from the rest. That being said, this album doesn't have a dull moment or a bad song. The album is literary in the sense that you need to listen to the album from "Overture" to "Underture" like you would read a book for cover to cover. Typical of a lot of Al Kooper's albums of the time period, there is a sort of classical outlook in the frame of the album starting from a thematic display of the album from the overture performed by a string quartet. This is really the album that Kooper came into his own as a songwriter and a performer. There are a lot of great Kooper originals such as "I Love You More Than You'll Ever Know" or "House in the Country," but there is also some great covered material in a bossa nova arrangement of Nilsson's "Without Her"(a personal favorite) and Randy Newman's "Just One Smile." There were aspects of a maturing musician in The Blues Project's 1967 release Projections, but this is the first time Kooper is the main driving force behind an album. "Meagan's Gypsy Eyes" incorporates a lot of the driving characteristics of Kooper's ondioline work on Projections "Steve's Song." Those familiar with Blood, Sweat & Tears might have heard of this album, but many fans of jazz rock know the material of their self-titled second album, which is really an entirely different band. After some disagreement in the band, Kooper left shortly after this album and the band went into its familiar David Clayton-Thomas format. Besides Kooper, some of the other musicians such as trumpeter Randy Brecker leave the band altogether pointing out how different this album is from the subsequent material of Blood, Sweat & Tears. This is the album that really launched the jazz-rock movement despite being overshadowed by a great deal of other albums. It is also one of the few examples of jazz-rock that wasn't conceived of to be a commercial endeavor; any element of the counterculture that Kooper brought with his ties to Bob Dylan were totally severed with his departure. Still, BS&T played during the infamous Woodstock festival and was a successful organization until the mid-1970s.

Lalo Schifrin - Enter the Dragon (1973)

In my own opinion this is one of the greatest scores to tackle a variety of styles and influences and do them all very well. Its hard to deny Lalo Schifrin's jazz background as an influence on his composition style. After being Dizzy Gillespie's musical director for a time and hearing his earlier work it is pretty evident that the Argentinian-born composer/musician's roots are in jazz. If you have ever heard Schifrin's score of Dirty Harry you will be familiar with many of the jazz sounds as well as his use for the tinny, almost electric-sounding brass that tells of impending doom such as in the track "Goodbye Oharra" or the sweeping flutes and the various electronic elements that warn of an ominous lurking danger such as the track "Broken Mirrors." Yet, Enter the Dragon also embraces Far Eastern elements with the instrumentation and even the tonality at times. Tracks such as "Han's Island" or "Su-Lin" are entirely written with a heavy influence of Chinese music, and makes the listener wonder how Schifrin was so easily able to write in a way that was probably so foreign to him. Despite the tracks that are very groundbreaking for the various influences present, other such as "Headset Jazz" and a personal favorite "The Gentle Softness" show how at home Schifrin is in the realm of mainstream jazz and its crossover elements typical of the early 1970s. Schifrin, in my opinion, is one of the finest living film scorers of today, it is just a shame that he doesn't write for films anymore or that there isn't a scorer that incorporates elements of his music into their own scores. His scores show a willingness to embrace music of any worth regardless of the origin and to make a fantastic, original product.