I'm often wary of concept albums and I can honestly say with my hand on heart that this one was no exception. History of the Vibraphone, a challenging and, dare I say it?, pretentious undertaking particularly as I'd heard all but one of the iconic figures live as well as being familiar with the other one on record.
To further muddy the waters I was unfamiliar with the work of Warren Wolf although, in many ways this wasn't such a bad thing as I had no preconceptions other than to fear that Wolf may have bitten off more than he could chew.
The subjects were drawn from a book by Richard Anthony Smith - Masters of the Vibes - in which Smith, himself a vibraphonist and pianist, decided to draw attention to the instrument's great performers. Musicians that perhaps haven't received their deserved recognition compared to other instrumentalists.
So, it was all systems go.
Terry Gibbs' Obstacle Course would be well-named for any lesser master of the mallets but not for Wolf. It soon became apparent that he's up there with the idols he's idolising. Piano by Brown alongside bass and drums and they were flying. Obstacle course? What obstacles?!
Lionel Hampton is a name synonymous with the vibraphone and Midnight Sun is synonymous with Lionel Hampton and now, also with Warren Wolf who's helped along the way by some sizzling alto sax from Green.
Django, composed by John Lewis for the Modern Jazz Quartet and Milt Jackson, is given, arguably, a warmer treatment than the original and is none the worse for that.
I'm not sure which of the Herzog jazz dynasty Bobby Hutcherson dedicated his composition Herzog to but it was considered strong enough for this album and, in doing so, heads into more contemporary territory. Again Green busts a gut with a blistering solo.
Green stays on board, albeit in a more restrained manner for Cal Tjader's Sad Eyes. Wolf is dutifully in empathy with the title.
Chick Corea's Captain Señor Mouse featured Gary Burton. Burton's style is tailor-made (British joke) for Wolf who wears it well as do his cohorts. Green switches to soprano and the Latin flavour of the original is preserved.
When I heard/saw Roy Ayers at Hoochie Coochie in Newcastle back in 2015 he certainly gave off good vibrations and I'm not talking Beach Boys. His composition Vibrations ensures that Warren Wolf draws a whole lot of warmth from the tune. Green sits this one out and Brown makes his pitch on Fender Rhodes.
David Samuels - who? Then it clicked, he was a member of Spyro Gyra who played Newcastle's City Hall as part of a tour promoting the band's hit Morning Dance. Spring High has a similar floating feel, quite ethereal in the nicest possible way.
Joe Locke was a regular participant back in the days of the Ambleside Jazz Festival and his appearances were enthusiastically reviewed by a former BSH reviewer Hugh C (now Hugh C him, now you don't). It was Hugh who put me on to him and I'm pleased he did just as I'm pleased that Warren Wolf picked up on him too. Saturn's Child is another emotional floater and it has nothing to do with Sun Ra.
Of course these days, if you're paying tribute to great vibes players you must include Warren Wolf even if your own name is Warren Wolf - to hell with modesty. Wolf's I See You Baby, Looking at me is no mere self-indulgent filler but a tune that, along with the composer's solo, walks tall in a parade of compositions by giants.
To shut up the shop the biggest giant of them all, Lionel Hampton, offers up Midnight Sun for an alternative take. Slower, shorter, more reflective and sans sax it's one for the listener to decide. Personally, I spun a coin and it landed on it's edge. It didn't actually but it's a good cop-out! Lance
Available August 23. BANDCAMP.
1 comment :
A few years ago I was at the Malta Jazz Festival and recall on looking at the programme thinking who is Warren Wolf? He came on and not only proved to be an incredible vibes player but made a big impression on me when he soloed sometimes on the grand piano.
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