Perhaps the most striking thing about this fine and more or less straightahead record is the playing of pianist Andrew Hill. He represents the extreme of weirdness on the record, and although his oblique approach owes a large debt to Monk, who is associated with bebop, he is in fact the player here who least conforms to bebop precepts. After Hill, the leader has the most singular sound, and it’s a joy and education to hear that determinedly individualistic and expressive voice fully formed then and still viable currency today. But in the clamour for originality, we should not overlook Kenny Dorham, who, if he sounds preset by early sixties standards, is nevertheless an inspired and consistent bop trumpeter. Khan and La Roca may appear to be no more than industrious, but to handle this music they also had to be versatile.
Leonard Feather, in the sleeve note, says the record reminds us that the spirit of Bird was very much a part of the scene in the sixties, and that’s true enough, but not the whole truth. There are 12-bar tunes here (Teeter Totter and Pedro’s Time), there’s swing and there’s Dorham, but there’s much more besides, of later vintage, like Our Thing’s 6/8 bridge and Back Road‘s soul-style theme; then there’s Hill’s eccentricity and sharp atonality, there are non-bop chord movements and song lengths and cool, Milesian elements. And we must not forget that Henderson has much in common with Coltrane, though he favours more discrete and melodic phrases. Our Thing reflects many attitudes and influences, and bebop is only one foundation stone in this magnificent post-bop edifice.
Discography
Teeter Totter; Pedro’s Time (18.32) – Our Thing; Back Road; Escapade (19.56)
Kenny Dorham (t); Joe Henderson (ts); Andrew Hill (p); Eddie Khan (b); Pete La Roca (d). Recorded 9.9.63, NY.
(Blue Note BST84152)
