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SPECIAL EDITION

Jack DeJohnette

Jazz Rock/Fusion


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Jack DeJohnette Special Edition album cover
3.52 | 4 ratings | 2 reviews | 0% 5 stars

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Studio Album, released in 1980

Songs / Tracks Listing

One For Eric 9:51
Zoot Suite 11:23
Central Park West 3:14
India 6:02
Journey To The Twin Plane 8:44

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

Bass, Cello - Peter Warren
Drums, Piano, Melodica - Jack DeJohnettes
Saxophone [Alto] - Arthur Blythe
Saxophone [Tenor], Bass Clarinet - David Murray

Releases information

LP: ECM Records ECM 1152 (Germany), Trio Records PAP-9196 (Japan)

CD: ECM Records 827694-2 (Germany)

Thanks to snobb for the addition
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JACK DEJOHNETTE Special Edition ratings distribution


3.52
(4 ratings)
Essential: a masterpiece of progressive rock music(0%)
0%
Excellent addition to any prog rock music collection(75%)
75%
Good, but non-essential (25%)
25%
Collectors/fans only (0%)
0%
Poor. Only for completionists (0%)
0%

JACK DEJOHNETTE Special Edition reviews


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Collaborators/Experts Reviews

Review by Kazuhiro
PROG REVIEWER
3 stars If it is not simple Free Jazz, the music performed with this album is not avant-garde Jazz to which only a one-sided idea is early either. It will not be music of the tohubohu based on an of course mental part either.

The music blocked in this album is a part of the tradition in a certain kind of Jazz. And, it is mental partial of Jazz. They might be at least involved. It might be able to be discovered easily by the process of recognizing that this album is faced to an essential part of Jazz.

Especially, there might have been a flow of details and turnabout that Jazz/Fusion often advanced to "Background Music" as limited merits and demerits of "Jazz/Fusion" as an opinion. It is said that this actually hinted Wayne Shorter for "Weather Report". The shade of meaning of "Background Music" that Wayne Shorter had made remarks on might have been a content to involve the concept as an intention as an antithesis to Jazz in the 60's. The flow might have caused the influence in Jazz/Fusion in the 70's. And, the groping and the effort are actually guessed that it was a situation that is brought forth in which it rushes into at the time of the 80's. A lot of music that had started in the point of the music character that was called "Crossover" and "Fusion" might remain only creative limited true music and be weeded out.

There might often have been confusion in the latter half of such a situation and a certain kind of the 70's for the field of Jazz. And, having always been offering a reformative music character from another angle to the situation will be able to enumerate the work group of ECM Records including Jack DeJohnette. For instance, the expression of Jack DeJohnette might developed music not to feel those groping and derivation to the flow that twines a suitable trend of thought by the music character of old and new in the 70's and breaks down the part of confusion.

As for the member who participated in this album, of each has already established own music character. As for the expression of this album, if the characteristic of Sax player's David Murray and Arthur Blythe was considered, it is likely to have been thought about the possibility of going in diffused direction as the case may be. However, the leadership ability and the flexibility of Jack DeJohnette are demonstrated with this album. Jack DeJohonette to say nothing of it did this album in produce and it is likely to have been expressed as proof of confidence. Manfred Eicher might also have pleasantly consented the confidence willingly. As for this album that catches own music character from the angle besides "Directions" that exists as a group of the Jack DeJohnette confidence and "New Directions", following a certain kind of reformative element might be included for Jazz at this time. It might be in the point that the musician of this album who characterizes and participated in the recording is following Jazz in the 60's. It might be this album for what should be of Jazz faced by boldly opening the flow in union and the 80's of the music character to contain one answer.

"One For Eric" is a tune by Jack DeJohnette. This tune might be a tune dedicated to Eric Dolphy. Ups and downs and a glossy theme are features. As for the irregular the melody of the theme including meter and the progress of Chord, originality is included. In the development of solo, the bass clarinet is a forerunner. The element of limited Free Jazz might also have the part where the music character of Eric Dolphy is considered as a result. The tune shifts to solo of alto-sax adding the dash feeling further. And, it returns from solo of drum to the theme again.

The theme of "Zoot Suite" where ensemble by gradual harmony shines is impressive. Jack DeJohnette performs melodica in this tune. The composition of the tune is composed of three parts. Inorganic harmony is continued while constructing the harmony of the wind instrument as it is. The tune expands the dash feeling further cymbals legato of the drum while placing the theme by harmony. The function as the suite and the establishment of the idea are expressed enough by repeating some themes.

"Central Park West" is a tune collected to "Coltrane's Sound" that John Coltrane announced. The theme to establish a completely graceful melody is progressed. Part of coming in succession of alto sax and bowing bass. And, the harmony of four opinions by Melodica and tenor sax continues always beautifully.

"India" is a tune of John Coltrane. This tune is collected to "Impressions" that John Coltrane announced. The tune starts by the piano of Jack DeJohnette. The theme progresses by alto sax and the bass clarinet. The wind instrument makes the top in the progress simultaneously getting on the part of Drone that bass does. The element of Free Jazz might go out of Ad-Rib ahead. The rhythm gradually becomes complex, too.

"Journey To The Twin Planet" is composed of the part of four. As for the composition, a little avant-garde part might be included. The tohubohu of a wind instrument advanced with Free Tempo shifts to complete Free Jazz. Ensemble that develops at high speed demonstrates the overwhelming might. It shifts to an avant-garde part again and it advances chaotically.

The acknowledgment level might be especially generally as work about Jack DeJohnette high as the member of Trio of Keith Jarrett. However, it will have been a work group that gave the especially challenging part in the work of own group and solo Jack DeJohnette that had announced in the 70's. Of course, this album will enter one of them, too.

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Send comments to Kazuhiro (BETA) | Report this review (#295359) | Review Permalink
Posted Friday, August 20, 2010

Review by js (Easy Money)
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
4 stars The early 80s was an interesting time for real jazz, although the genre had been suffering from an onslaught of confusing commercial concerns since the late 60s, the new decade saw a fresh approach as a lot of artists began to re-embrace the music they loved unfettered by conformist musical trends. Throughout the 70s jazz musicians had to struggle with the whole fusion question (should I or shouldnt I, and if so, how much), which became more complicated in the late 70s when many artists considered even more profitable sell- outs in the form of dinner jazz and/or pop-funk. This fusion branch of jazz, marred with motivations that were often muddled by monetary concerns, was matched on the traditional side by bands that became increasingly conservative and irrelevant as they clung to jazzs past in grouchy stubbornness.

The always vibrant New York City jazz scene was the first to shake things up when Ornette Coleman and Blood Ulmer unleashed their new gutsy avant jazz rock in 1976. This broke the door open and many jazz veterans saw a chance to revitalize themselves by turning from watered down bland fusion to real jazz on acoustic instruments with modern avant-garde influences and fresh ways of combining jazzs past with new directions.

Although Jack DeJohnette helped invent jazz-rock in the mid to late 60s with Charles Lloyd, and later with Miles Davis, by 1980 he is playing pure jazz on this record that sounds great and relevant for the first time in over a decade. The music on here is well composed avant- garde jazz that is thoughtful and humorous and a far cry from the sonic blast approach to avant jazz that was prevalent in the 60s. Unlike 60s avant jazz, much of this record is more similar to 20th century chamber music in its balanced use of composition and improvisation. The humor comes across in corny riffs that get stuck like a broken record while a horn soloist goes off. The compositions pull from a wide range of influences including Eric Dolphy, Sun Ra, 20th century composers, Ornette Coleman, Duke Ellington and others. One cut even seems to mimic Phillip Glass somewhat. My favorite tune is a cover of Coltranes swingin classic, India. The always extraordinary David Murray plays an excellent bass clarinet solo on this one. Overall, the double horn approach on this album adds a lot. I saw this band live in Houston when they toured to support this record. The musicians seemed to be in great spirits, the two horn players in particular seemed pleased that they didn't have to play over any rock like amplification, allowing them so much more subtle expression in their playing. DeJohnette too was able to bring out the beautiful orchestral approach to his playing without having to resort to pure power. This is a great record if you like modern avant flavored jazz composition and improvisation

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Send comments to js (Easy Money) (BETA) | Report this review (#352575) | Review Permalink
Posted Tuesday, December 14, 2010

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