Fusion Week: Nucleus

This week JazzWrap will take a look at some of the important (sometimes forgotten) groups that have helped shape and expand jazz fusion, prog and jazz rock over the last 40 years.

Nucleus (group; formed 1969 - disbanded 1983)

Original Lineup: Ian Carr (trumpet) Chris Speeding (guitar) Brian Smith (sax) Karl Jenkins (electric piano) John Marshall (drums) Jeff Clyne (bass)

Formed surprising around the same time as prog legends King Crimson, Nucleus utilized jazz as their platform for experimentation. Guided by the deft hand of Ian Carr on trumpet, Nucleus would quickly catapult into the public eye through a series of live show culminating at the Montreaux Jazz Festival 1970. Nucleus started as Sextet and will evolve to various sizes over the course of two decades plus. The group would features such future jazz luminaries as Kenny Wheeler (trumpet), Chris Speeding (guitar), Alan Holdsworth (guitar), Tony Levin (drums), Norma Winstone (vocals) among others.

Nucleus could be called one of the British reactions to Miles Davis' series of electric fusion records from 69 - 71 (In A Silent Way, Flies de Kilamajaro, Bitches Brew and Jack Johnson). The mystical, ethereal approach Miles had captured on the aforementioned records seemed to have had some effect of Ian Carr and his fellow band members.

Don't think that Nucleus were just some Joe Zawinul, Herbie Hancock, Wayne Shorter, Chick Corea, Dave Holland, Tony Williams clones. NO! Nucleus took things one step further by fusing and stretching the idea of jazz and rock into a melodic journey with some funky yet highly improvised stops along the way. The music was first and foremost a jazz sextet that beautifully synced up well together. They also had a level of psychedelic brilliance that outside of what was going on in Germany (e.g. Can, Kraftwerk, Neu, Amon Duul) and America (Miles, Headhunters, Mahavishnu, Weather Report) at the time, was completely different in the UK. Also of note, some members would later join the other important British jazz rock band Soft Machine.

Nucleus released its first two albums, Elastic Rock (Vertigo; 1970) and We'll Talk About it Later (Vertigo; 1970) to monumental raves. The blistering work by Speeding on guitar, magical intoxication of Jenkins on keyboards and Carr's mastery on trumpet pull you kicking and screaming into the soundscape they have just constructed. Songs like "Elastic Rock," "1916," "We'll Talk About It Later" and the bombastically funky "Song for a Bearded Lady" are excellent statements of the early era of the band. Definite must listens for fans of Miles Davis, Can, Mahavishnu, et al.

Nucleus would record another 8 albums over the next two decades with various lineups. All of which are quite good and tend to get a little more funky as guitars and keyboards started to dominate the outings. Their is an extremely (and I mean extremely) great but hard to find compilation of their first six album for Vertigo called Direct Hits, that is well worth checking out. I don't have one but I would love a copy if anyone has one (yes, I'm begging).

Recently, there has been a series of live CDs spanning almost each configuration of the bands existence. Obviously the bulk of them cover the 70 - 71 lineup but each is still worth taking a listen. If you can't find these at record stores. I have seen them available for download at Amazon and iTunes. My personal favourites are Hemispheres: Live In Europe 1970/71 (Hux Records). It's got excellent sound quality and features and awesome version of "...Bearded Lady" and a Miles/Hancock scattered funk of "Snakeships Dream".

The other favourite is UK Tour '76 (MLP) is another soundboard recording and features a much later lineup dominated by keyboardist, Geoff Castle, guitarist, Ken Shaw and saxophonist, Bob Bertles, whom all stir up some nice fierce funk throughout this date. UK Tour '76 was recorded at what would be the end of Nucleus as a group (recorded during the tour for their final album Alleycat) as Ian Carr would also assume the Nucleus name more as a solo artist with guest musicians.

Nucleus never wanted to be compared to Miles' bands but fortunately or unfortunately they are. But that should not lessen the opportunity for you to check them out. Nucleus hold a strong place in the development of jazz fusion during the 70s and its important the story is continually told.

Philip Glass

Philip Glass (piano, composer; b. 1937)

So this is a short entry today. Philip Glass is one most interesting and prolific modern composer alive today. While many living composers are still trying to write the next Mahler Symphony, Philip Glass has spent almost 50 years writing original, complex and challenging material which has been performed by ensembles like Bang On A Can, Kronos Quartet and multiple symphony orchestras around the world. Not to mention his own Glass Ensemble. While his music is revered and refiled by different quarters, there is no denying that he is consistently looking at new ways to move classical music forward his sometimes and unfortunate stagnation to its great (and I do mean GREAT) history.

I recently stumble upon two collections that I think would be perfect for the uninitiated. The first is Philip Glass iTunes Live In Soho . This live performance at an Apple store in NYC is a great overview of some of the major pieces by Glass including "Metamorphosis," "Knee Play No.2" and the wonderful "Wichita Vortex" featuring Ira Glass.

The iTunes Live set was nice but the other cool thing I just stumbled upon was a 21 track sampler from Philip Glass' own label called Orange Mountain Music. The Orange Mountain Music Sampler covers material he has writing over a large majority of his career (solo compositions, film music, orchestral and more). It is heavily edited so this isn't really for the Philip Glass aficionado. It's for the new comer and I personally think it fits the bill nicely. Not every track is a winner but Orange Mountain Music Sampler is FREE from the Amazon MP3 store so its well worth checking out just for that. I'm not sure this offer will be up very long but I thought it was fantastic that Amazon offered it. Do yourself a favour and check it out.

Miles Davis and Hip Hop

Miles Davis (trumpet)
Doo Bop (Warners; 1991)

I said before the Miles' latter period (1985 - 1991) still needs to be re-evaluated by jazz fans and the outside listening public. Far to often it is shoved aside by the the monumental recordings that presided them (Rebirth of the Cool, Steamin', Workin', Kind Of Blue, Bitches Brew and On The Corner). But I think anyone who is going to listen to Miles' recordings has to eventually get to the point of "what's next?" "what do I listen to after the big records?"

Well, I think covering the final years of his life is a good idea. Not every record is great but they all do tell a story of what Miles was thinking and the direction he was looking towards. One such album is his final recording just before his death in 1991, Doo Bop (Warners).

Now for those who know this was a very incomplete record at best. Miles had been interested in R&B and Hip Hop for quite a few years at this point. He had actually recorded material with Prince a few years earlier. This material remains unreleased (or rumoured released on Prince's Black Album). So the idea and concept of Miles record a "street" dedicated album was really not out of the question. It was more "when" and "what" would it sound like.

I have to say 18 years later, Doo Bop sounds slightly dated but if you place yourself back in that time period, you know full well Miles was on to something. The album was recorded in few short weeks. The not all the material was even complete. In working with his collaborator/producer for the album, Easy Mo Bee, Miles felt a younger contemporary. This was someone he could drop some knowledge on as well learn more about the Hip Hop movement.

The opening "Mystery" with the infectious muted trumpet combined with muffled drum n' bass rhythm was Miles setting down a new marker for a new decade. You felt the futuristic street vibe Miles was searching for. That pounding message would carry through to "Chocolate Chip" with its slowed down mid tempo funky drummer beat and some excellent samples thrown in for good measure. A nice dance floor filler.

Miles was also influenced by vocal sounds of hip hop, so he incorporated rap into some of pieces (provided by Easy Mo Bee and J.R.. The rap pieces don't really work more because the lyrics are really weak and don't seem throughout well at all. The music itself compliments Miles very well. Miles and Easy Mo Bee do add a lot of though into the musical arrangements throughout Doo Bop. "Blow" has a "Pacific State" (song by English techno band 808 State) vibe to it that is very interested (despite the average lyrics laid on top).

Towards the end of recording sessions Miles had visited the hospital for some treatment. It would be turn out that Doo Bop would be the last record Miles Davis would record. The album was completed by Easy Mo Bee and since has received lukewarm reviews. In listening to Doo Bop again and again for this piece I realise there is a lot hear to absorb and I've been enjoying the adventure of going track by track. It's definitely an incomplete experience but its the insight into a legends way of thinking.

If you own the album take a listen again and think about some of the hip hop, techno that even some of the soul jazz that would come (Guru's Jazzmatazz, Branford Marsalis' Buckshot LeFonque, Roy Hargrove's RH Factor, et. el) --Miles was still ahead of the game.

Kris Davis: Free Jazz In New York

Kris Davis (piano)

In just a short span of under 10 years, Kris Davis has become a significant figure in the New York and European jazz community. Born in Canada but residing in New York, Kris Davis was classically trained on piano but quickly turned to jazz after moving to New York in the late '90s. She has built an impressive and eclectic career through her unconventional arrangements and the establishment of solid core of musicians she regularly performs with.

When listening specifically to Davis during some of her recordings I hear echoes of Cecil Taylor or Keith Jarrett (trio era), which may or may not be the case but the complexity of the compositions and the quality of the performance call to mind these legends. While not necessarily a frequent live performer, when does step to the stage you can expect a deeply intense and imaginative outing with free flowing tempos and challenging chords from her piano and her rhythm section.

Kris Davis has recorded on three albums under her own leadership (Rye Eclipse, Slightest Shift, Lifespan) all for the Fresh Sounds/New Talent label. They are highly accomplished free jazz selections that should not be missed. While Kris Davis does have an album coming out later this month called Good Citizen (Fresh Sounds/New Talent), her most recent album is a Paradoxical Frog (Clean Feed; 2010) and its an absolute feast for the free jazz fanatic.

Paradoxical Frog features a trio of Davis, Ingrid Laubrock (sax) and Tyshawn Sorey (drums). All three musicians are equally dominate throughout the proceedings. Davis contributes the three pieces to the recording, including the beautifully improvised and chaotic opener "Iron Spider" which travels big beat tempo and introspective bliss with tight wire ease.

Tyshwan Sorey contributes two tracks including the almost extremely quiet yet complex "Homograph" which makes Davis and Sorey seem distant and remote in it audible range but works incredible well when set in with the rest of the recording. Ingrid Laubrock almost Coltrane-esque performance throughout is marvelous on the title track and "Ghost Machine" in which she brings a dynamic that makes a yearning for the aforementioned legend but also the crazy rhythmic structures of Henry Threadgill or Charlie Mingus shine in my head while listening.

Paradoxical Frog is powerfully dynamic work that will not be everyone's cup to tea but its modern American free jazz at its finest coming from downtown New York. Highly recommended.