Dollar Brand, Don Cherry, Carlos Ward: The Third World-Underground
This album was originally released in 1974 on Trio Records, a Japanese label responsible for some seriously interesting discs during the 70s and 80s. This is the first time it has become available on an international basis, and it finds the pianist featured under his born name despite his conversion to Islam four years earlier. The three all had associations with the free-blowing movement of the period, Don Cherry being one of major figures in the loosely titled “avant-garde”, Ward spending many years in association with Brand (Ibrahim); the latter was an individualistic figure, much influenced by Ellington and Monk.
The music arrives with the pianist already in full flow, hammering out the bold theme of Don’s Song, a Cherry composition which the trumpeter joins in typical fashion, delivering two separate solos, the second full of extended notes embellished by those characteristic flutters and flurries. This piece is abruptly terminated by the onset of Brand’s Cherry, a medium-tempo tune; the composer’s repetitive figure underpins the work of the horns, whom both seem happy to be anchored by the theme and take a relatively melodic route, prior to a touch of call and response with the keyboard.
Bra Joe From Kilimanjaro is all about the pianist’s measured left hand, the rock for a solo carrying tinges of the blues, percussive passages and more expansive excursions. Once again there is a hasty transition, this time to Jabulani-Easter Joy. It’s jagged opening acts as a starting point for Cherry and Ward to engage in a touch of sparring based around the theme. Vocals are to be heard on Waya-Wa-Egoli and Swazi, both relatively short, as is Wayeah-Wayeah-O, carrying a semi-stately theme which sounds like a Brand original but was composed by one Victor Ndilzwana.
Discography
Don’s Song; Cherry; Bra Joe From Kilimanjaro; Jabulani-Easter Joy; Waya-Wa-Egoli; Swazi; Wayeah-Wayeah-O (40.03)
Dollar Brand (p, v); Don Cherry (t, v, pc); Carlos Ward (as, v, pc). Jazzhus Montmartre, Copenhagen, 14 November 1972.
Wewantsounds WWSCD125
James Chadwick: Walrws
Like it or not, the popular song has long been a source for improvisation, going back to the advent of recording. Jazz musicians of various hues have long trawled the marketplace for suitable material to either imbue with a light degree of adjustment, as a basis for their own compositions or to totally dissect a piece to make it almost unrecognisable.
This album is described as presenting “60s Pop Classics with a Jazz Twist”, seven out of the 13 selections being Lennon and McCartney songs, all of the choices being highly familiar to even those with a passing interest in popular music. The purpose here is to rework and reharmonise, adding some personal touches where appropriate. Some of these tunes lend themselves more readily to the intended process – the L & C items having been visited by many jazz musicians with varying results.
This quintet led by guitarist James Chadwick struggles manfully in its attempts to expand upon the chosen original resources but ultimately fal short. The ensemble sections lack drive, the solos are rather routine and the melodies, when delivered, lack boldness. Without wishing to add to the negativity, your reviewer has listed the titles correctly, rather than in the untidy manner they are presented on the case of the CD.
Discography
I Am The Walrys (Walrus); Stand By Me; Eleanor Rigby; Daydream Believer; Sound Of Silence; Mr. Tambourine Man; Blackbird; Penny Lane; God Only Knows; Fool On The Hill; I Feel Fine; Strawberry Fields Forever; Walk On By (69.44)
Chadwick (g, arr); Mark Sambell (p); Aidan Thorne (b); Liz Exell (d); Josh Heaton (ts). Abergavenny, 3 & 4 September 2025.
33 Records 33JAZZ321
