DON PULLEN – Richard’s Tune
Delmark Records: Originally released as Sackville SK 3008
Don Pullen, solo piano; recorded 1975 in Toronto
This is Don Pullen’s first album recorded in his name and was released originally as Solo Piano Album. The title track was dedicated to Muhal Richard Abrams of Art Ensemble of Chicago fame amongst others. Quite usually for the pianist, this track starts out as a clear enunciation of the tune’s melody which melds into a more tonally affluent, percussive and aggressive expression. Suite (Sweet) Malcolm follows: again comes the melody, this breaking into comprehensively free-playing piano, emphasized by a fervent and angry attack on the keys which melts away to understated sadness.
Throughout the album he expresses his curious, improvisational methodology in a variety of ways, employing both free playing and his profound experience in blues and R&B. This skill in mixing and matching diverse genres and styles and applying it to both his compositions and performance was unusual in his day and brought an air of exotically realistic individuality to his music and his playing.
Study Big Alice and its alternate take. It’s a likeable tune, simply expressed and repeatedly, developing slightly in intricacy as it proceeds. The alternate take is a little speedier and strongly echoes the effects of African-American music including Gospel, with its church organ-like choruses: indeed the two versions have transparently different dispositions, achieved elegantly and with vibrant sophistication. One of his favourite compositions, these variations plainly exhibit Don Pullen’s level of innovation and the whole album reveals the strength of his effervescent originality.
Delmark Records: Originally released as Sackville SK 3008
Don Pullen, solo piano; recorded 1975 in Toronto
This is Don Pullen’s first album recorded in his name and was released originally as Solo Piano Album. The title track was dedicated to Muhal Richard Abrams of Art Ensemble of Chicago fame amongst others. Quite usually for the pianist, this track starts out as a clear enunciation of the tune’s melody which melds into a more tonally affluent, percussive and aggressive expression. Suite (Sweet) Malcolm follows: again comes the melody, this breaking into comprehensively free-playing piano, emphasized by a fervent and angry attack on the keys which melts away to understated sadness.
Throughout the album he expresses his curious, improvisational methodology in a variety of ways, employing both free playing and his profound experience in blues and R&B. This skill in mixing and matching diverse genres and styles and applying it to both his compositions and performance was unusual in his day and brought an air of exotically realistic individuality to his music and his playing.
Study Big Alice and its alternate take. It’s a likeable tune, simply expressed and repeatedly, developing slightly in intricacy as it proceeds. The alternate take is a little speedier and strongly echoes the effects of African-American music including Gospel, with its church organ-like choruses: indeed the two versions have transparently different dispositions, achieved elegantly and with vibrant sophistication. One of his favourite compositions, these variations plainly exhibit Don Pullen’s level of innovation and the whole album reveals the strength of his effervescent originality.
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Reviewed by Ken Cheetham
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