ARTHUR BLYTH - In The Tradition/Lennox Avenue Breakdown/Illusions/Blythe Spirit:
Four Albums on Two Discs
BGO CD1242
These four albums were recorded by Blythe during his contract with Columbia.
LENOX AVENUE BREAKDOWN (1978)
The reputation of this album is almost intimidating. Frequently called Blythe’s masterpiece it did not do well when it was first released. Blythe and James Newton flute are a formidable front line. Jack de Johnette drives the rhythm. James ‘Blood’ Ulmer makes his characteristic guitar sound. Bob Stewart appears on three of the albums and he adds immeasurably to whole feel of the date. Is there a better tuba player? Stewart’s solo on the title track could be one of the best tuba solos anywhere, it has such a pungent sound. The tuba contrasts directly with edginess of Blythe’s sound. Blythe met Stewart when they were both working with Gil Evans. Cecil McBee on bass punches out the varied rhythms. All the compositions are written by Blythe. It is easy to see why this album was so valued.
IN THE TRADITION (1978)
“I would love for everyone to accept my music, and I would love to make money, but only by keeping my music on the cutting edge,” Here Blythe is working with pianist Stanley Cowell, bassist Fred Hopkins and Steve McCall on drums. One look at the pieces, two by Ellington, one by Fats Waller, one by Coltrane and the rest by Blythe, you can see there is an effort to ameliorate the avant-garde reputation of Blythe. ‘In A Sentimental Mood’ was occasionally played by Paul Gonsalves and Johnny Hodges, Blythe brings a different sensibility to the music. He does not caress the melody in the way that the Ellingtonians would. The interpretation is wilder, passionate and more strident. Stanley Cowell also enjoys embellishing ‘Caravan’ before Blythe soars away emotionally into a blizzard of notes.
ILLUSIONS (1980)
The album is close in spirit to Lenox Avenue Breakdown. All the pieces are written by Blythe it also includes guitarist James Blood Ulmer and tuba player Bob Stewart. An additional sound comes from the cello of Abdud Wadud. The album also uses John Hicks acoustic piano. Blythe used two different quartets. He tried to create music that moved in between the concepts underlying his first two Columbia albums. Musicians were swapped in and out, depending on the track. ‘Bush Baby’ is based on a repeated figure. Blood Ulmer and Blythe share the solos. ‘Miss Nancy’ is dedicated to Blythe’s mother. ‘Carespin with Mamie’ is dedicated to Blythe’s wife. The whole album is trying to create a balance between playing ‘in’ and playing ‘out’.
BLYTHE SPIRIT (1981)
‘Blythe Spirit’ illustrate what Blythe said in an interview ‘I am not just avant-garde. I like to play all types of music as much as I can play, straight-ahead or whatever they call that. I like rhythm and blues. I like music with form, not atonal. I am not only there. The music that I deal with has elements of bebop to ballad, swing to sweet, blues to boogie, and pop to rock.’
Here we have pieces like Gershwin's ‘Strike Up The Band’ and Erroll Garner’s ‘Misty’. On this album we hear clearly the tensions between a musician who wants acclaim and yet be true to himself. The rhythmic underpinning on ‘Reverence’ is startling and brave even now. The speed of ‘Strike Up The Band is driven, strident and wild. ‘Misty’ is the most conventional track on the album. ’Just A Closer Walk With Thee’ is alto, tuba and Amina Claudine Myers on organ. It contrives to be emotional, assertive and squarely in the tradition.
Ultimately, the story of Arthur Blythe is sad. In his early days he was known as Black Arthur Blythe because he spoke strongly on racial inequality. His music is so brave, creative, so joyful, so full of dance and energy. It is possible to see why he was once considered as the way forward and yet it did not happen.
BGO are to be congratulated on rescuing these albums from the vaults. They are beautifully presented with great sound and extensive documentation. If you don’t know one of the great lost souls of jazz, this is your chance to listen and wonder why Blythe was not celebrated while he lived.
Reviewed by Jack Kenny
Four Albums on Two Discs
BGO CD1242
These four albums were recorded by Blythe during his contract with Columbia.
LENOX AVENUE BREAKDOWN (1978)
The reputation of this album is almost intimidating. Frequently called Blythe’s masterpiece it did not do well when it was first released. Blythe and James Newton flute are a formidable front line. Jack de Johnette drives the rhythm. James ‘Blood’ Ulmer makes his characteristic guitar sound. Bob Stewart appears on three of the albums and he adds immeasurably to whole feel of the date. Is there a better tuba player? Stewart’s solo on the title track could be one of the best tuba solos anywhere, it has such a pungent sound. The tuba contrasts directly with edginess of Blythe’s sound. Blythe met Stewart when they were both working with Gil Evans. Cecil McBee on bass punches out the varied rhythms. All the compositions are written by Blythe. It is easy to see why this album was so valued.
IN THE TRADITION (1978)
“I would love for everyone to accept my music, and I would love to make money, but only by keeping my music on the cutting edge,” Here Blythe is working with pianist Stanley Cowell, bassist Fred Hopkins and Steve McCall on drums. One look at the pieces, two by Ellington, one by Fats Waller, one by Coltrane and the rest by Blythe, you can see there is an effort to ameliorate the avant-garde reputation of Blythe. ‘In A Sentimental Mood’ was occasionally played by Paul Gonsalves and Johnny Hodges, Blythe brings a different sensibility to the music. He does not caress the melody in the way that the Ellingtonians would. The interpretation is wilder, passionate and more strident. Stanley Cowell also enjoys embellishing ‘Caravan’ before Blythe soars away emotionally into a blizzard of notes.
ILLUSIONS (1980)
The album is close in spirit to Lenox Avenue Breakdown. All the pieces are written by Blythe it also includes guitarist James Blood Ulmer and tuba player Bob Stewart. An additional sound comes from the cello of Abdud Wadud. The album also uses John Hicks acoustic piano. Blythe used two different quartets. He tried to create music that moved in between the concepts underlying his first two Columbia albums. Musicians were swapped in and out, depending on the track. ‘Bush Baby’ is based on a repeated figure. Blood Ulmer and Blythe share the solos. ‘Miss Nancy’ is dedicated to Blythe’s mother. ‘Carespin with Mamie’ is dedicated to Blythe’s wife. The whole album is trying to create a balance between playing ‘in’ and playing ‘out’.
BLYTHE SPIRIT (1981)
‘Blythe Spirit’ illustrate what Blythe said in an interview ‘I am not just avant-garde. I like to play all types of music as much as I can play, straight-ahead or whatever they call that. I like rhythm and blues. I like music with form, not atonal. I am not only there. The music that I deal with has elements of bebop to ballad, swing to sweet, blues to boogie, and pop to rock.’
Here we have pieces like Gershwin's ‘Strike Up The Band’ and Erroll Garner’s ‘Misty’. On this album we hear clearly the tensions between a musician who wants acclaim and yet be true to himself. The rhythmic underpinning on ‘Reverence’ is startling and brave even now. The speed of ‘Strike Up The Band is driven, strident and wild. ‘Misty’ is the most conventional track on the album. ’Just A Closer Walk With Thee’ is alto, tuba and Amina Claudine Myers on organ. It contrives to be emotional, assertive and squarely in the tradition.
Ultimately, the story of Arthur Blythe is sad. In his early days he was known as Black Arthur Blythe because he spoke strongly on racial inequality. His music is so brave, creative, so joyful, so full of dance and energy. It is possible to see why he was once considered as the way forward and yet it did not happen.
BGO are to be congratulated on rescuing these albums from the vaults. They are beautifully presented with great sound and extensive documentation. If you don’t know one of the great lost souls of jazz, this is your chance to listen and wonder why Blythe was not celebrated while he lived.
Reviewed by Jack Kenny
