The Felonious Funk of J.J. Johnson

Jazz trombone great J.J. Johnson composed and played on a number film and television soundtracks during the feloniously funky 1970s, ranging from blaxploitation potboilers such as Shaft (with Isaac Hayes) and Trouble Man (with Marvin Gaye) to episodes of TV's Starsky & Hutch and The Six Million Dollar Man.

Johnson worked with Bobby Womack on one of the best blaxploitation soundtracks ever, Across 110th Street. It opens with all the drama and soul one could ever hope for in a title theme. If it were the only good track, it would still be worth the price. Thankfully, it isn't -- this is a well rounded score. From there you get Johnson's funky instrumentals ("Harlem Clavinette"), mellow soul ("If You Don't Want My Love"), wise-ass dialogue ("Punk Errand Boy"), catchy up-tempo soul ("Hang on in There" vocal and instrumental versions!) and righteous blues ("Do It Right").

Johnson's score for Cleopatra Jones is funky, soulful and memorable, featuring instrumentals and songs sung by Joe Simon and Millie Jackson. This score's soulful groove never lets up. Most importantly, there's a great theme and great chase music, featuring the wah-wah rhythms, brash brass, jagged string arrangements, rolling bass, fatback drumming, funky keys, heavy flute.

J.J. Johnson also delivered a soulful and riveting score for the pimptastic Willie Dynamite in 1974. Featuring four vocal performances by Martha Reeves & The Sweet Things, Willie Dynamite strikes the ideal blaxploitation balance of soul and funk. While the vocal tracks are fine but not particularly essential, Johnson's action-packed instrumentals are the real attraction. Cuts like "Willie Chase," "Willie Escape" and "Parade Strut" combine big band brass with dynamic percussion, wailing organ solos and unusual harmonica effects.

All three killer scores place Johnson alongside such the blaxploitation masters as Isaac Hayes, Willie Hutch and Curtis Mayfield.

David Sylvian: Jazz Futurist

David Sylvian (vocals, multi-instrumentalists)

For many, the name David Sylvian will be unfamiliar. David Sylvian started in the ''new romantic" (early eighties term for alternative) band Japan, which in itself was a rip off of the rock band Roxy Music. The band evolved into one the most influential and experimental bands of the mid-eighties. They incorporated various Eastern aesthetics into their music which allowed each member (David Sylvian (keyboard, piano, vocal), Mick Karn (bass, sax), Steve Jansen (drums), Richard Barbieri (keyboards)) to branch outward in their own directions. David took the path over the course of 9 albums towards more innovative jazz experiments.

His recent albums (Dead Bees On A Cake, Blemish and Snow Bourne Sorrow) have all combined his spiritual values with his appreciation for avant garde jazz. In recent years, Sylvian has also worked with avant garde guitarists Derek Bailey and Robert Fripp and trumpeter Jon Hassell and it definitely shows on the aforementioned albums.

The new release, Manafon (Samadisound) feels like the culmination of the previous two albums with its ethereal electronics and melodic accompaniment work from avant garde jazz musicians Evan Parker (sax) and Otomo Yoshihide (guitar) as well as excellent piano work from John Tilbury.

If you are a fan of ECM label, whose artists include Keith Jarrett, Evan Parker, Steve Tibbetts and David Torn among others, David Sylvian is someone you might want to check out. If Manafon doesn't whet your appetite you might want to check out the earlier compilation Everything And Nothing (Virgin Records) which will provide nice insight into his vocal and instrumental material over the last 30 years. Happy listening.

John Coltrane: Side Steps

John Coltrane (saxophone, b. 1927 - d. 1967)

There is a new John Coltrane boxed set released this week entitled Side Steps (Prestige). It chronicles Coltrane's work as a sideman. All the material on this set is exceptional and highly recommended. Side Steps is a massive but modestly packaged 5 disc set (mainly for the diehard fan/collector). What I find special are two sessions included in this box that you can buy separately and would be an excellent addition to your music collection.

The first is an album by the great pianist Elmo Hope All Star Sessions (aka: Informal Jazz). All Star Sessions was a session which pitted Hope's elegant styling against Coltrane's burgeoning dominance on the jazz scene. The elder statesman, Hope and the young buck, Coltrane combine for a wonderful date that has John Coltrane placing his stamp on many of the standards on the release. In addition, Hope's playing is exceptional as always and he leads the rest of band through a great performance. This is truly an underrated album from a hugely underrated pianist. While most will gravitate to Coltrane's performance, I recommend you pay close attention to the direction from Elmo Hope.

The second album from the Side Steps box I would recommend you seek out is Soul Junction from Red Garland. Red Garland was another great pianist, probably more well known than Elmo Hope but also his association with the young John Coltrane at the time did elevate both the session and their future works. This session is accentuated by the very lengthy sets (the tilted track clocking in at 15 minutes). The set is a really smokin' blend of midtempo blues and also includes standout performances from Arthur Taylor (bass) and Donald Byrd (trumpet).

Both Soul Junction and All Star Session distinguish themselves from each other through the strength of the leading men and the way they utilize John Coltrane's youthful inventiveness. You will definitely enjoy listening to these two underrated pianists as they mix it up with an up and coming John Coltrane as he is developing his own voice. If you don't have the money for the big box set I would suggest checking out these two albums.

Last Exit: Beauty Of The Beast

Last Exit (group, 1986 - 1994)
Sonny Sharrock (guitar)
Bill Laswell (bass)
Peter Brotzman (reeds)
Roland Shannon Jackson (drums)

Last Exit was nothing more than a fierce behemoth that roamed jazz clubs and finally rock clubs leaving only the brave in their wake.

This was a supergroup but a supergroup that recorded very frequently during their almost decade together. They never really recorded a complete studio album. The majority of their albums are all live and all call on you to use the one thing you don't like to use sometimes when listening to four improvisers--patience.

This is a band that sounds like a construction site but if you listen closely to Sharrock's guitar you can find the lead. They performed with the true "I don't care about you" "F@&# you" attitude and it worked. Most of the time they drove their original jazz audience away but as a result gained a massive alternative and punk audience through the reputation of their gigs and the stature of Laswell as a musician and producer who floated between jazz, rock and alternative.

Last Exit disbanded in 1994 after the death of founding member Sonny Sharrock. If you fear music this is not for you. If you want your brain splattered across the floor, please take a listen to them. I would recommend any of the following Last Exit (Enemy), The Best Of Live (Enemy) and The Noise Of Trouble (Tokuma) which are all available online for download if you are interested.

Here's a small taste of Last Exit performing "Discharge" from their first album Last Exit. I wish I was there!!!