JACK DEJOHNETTE

In a way it is right in his desire to be an album of Avant Garde Jazz Funk to the extreme limit of Free Jazz that "The DeJohnette Complex" is a winning album still today. In my perception this is a great example also of early Progressive in USA, also if this sentence is not correct. The power of "The DeJohnette Complex" is not only the preparation of the musicians or the beauty of the compositions contained therein but, above all, the power that it gives off. The production, in fact, is all based on the work of mixing, so much so poor but cured.

The sound of the album is made ​​up entirely of drums, sax and melodica, so that power and melody are (where possible) that tastes like a whole big band, as can be misused. It is also impossible to have a favorite composition on this album, because it is a uniform set of compositions, gathered here in order to be heard one after another, without stopping or second thoughts.

As I understand of jazz, I can say that "The DeJohnette Complex" is an album born mature and aged very well. One of my favorite albums in my discography.

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

The first two cuts belong to DeJohnette's abstract yet structured beats that sound like an Elliot Carter algorithmic rhythm matrix, but with a swing feel. On the first cut he also adds quiet dissonant unsettling electric keyboards that lurk in the background. These two cuts offer some interesting samples for the more adventurous drumnbass producer. 'Picture 3' rounds out side one as Abercrombie joins for a swingin modern post-bop number that may be the highlight of the album.

Side two's opener, 'Picture 4', is an impressionistic pastel reproduction of an avant-fusion workout between Abercrombie's sustained electric guitar and DeJohnette's rambling trap set. Both musicians take a subdued approach and only hint at the sort of fury they are capable of releasing. 'Picture 5' is fractured hill-country roots music presented as chamber art and album closer 'Picture 6' features Satie style piano figures from DeJohnette with soft cymbal rolls for that proto new age sound most often associated with ECM releases. This album isn't for everyone, but if you are a fan of either DeJohnette or Abercrombie you might want to check out this very unique release.

Album contains one cover composition - Thelonious Monk's "Monk's Mood", all other songs are DeJohnette's. Even if album is recorded in 1984, it's atmosphere comes somewhere from 50-s and 60-s. Post-bop, even bop, combined with a few more modern moments, and melancholic, nostalgic melodies. Very often listener will feel as being on great jazz party from 50-s.

Music is very personal, sensitive, even romantic. And possibly the great thing is this album doesn't sound as remake or imitation of old time's jazz. This music brings listener to that time as time machine!

Rare example of really original bop-based jazz, recorded in 80-s. For sure you can't find even traces of fusion on this album.

In the form concerning the music character that Jack DeJohnette cultivated and the performance, it might be true to have given originality and the reformation at least in the field of Jazz/Fusion. It is likely to have been adopted as a standard of the point and one that corresponded to directionality to which Miles Davis surely did the point chosen as the group of Miles Davis as a successor of Tony Williams in especially 1968 at that time and the music character. The superior technology and originality had already been completed and expressed it.

And, the method of expressing Jack DeJohnette remarkably expressed after the 1970's is established by the exchange with various musicians and work with ECM Records. Competing of Chick Corea and Dave Holland. Or, an original music character that Jack DeJohnette advocated it to the item of Jazz as establishment of one form at this time was expressed by "Directions" of his own group and "New Directions". The existence of John Abercrombie might be also indispensable as the partner at this time. And, if the joint work and the work group in ECM Records are considered as a medium of the expression of the directionality at this time and the music character, the listener will be able to confirm to it completely accompanying the necessity through the album.

It hits an initial work by which Jack DeJohnette to say nothing of this album remarkably materialized the embodiment of the self and the music character. The recording is done in June, 1978. Part of diffused music character done as one for Jack DeJohnette to show technical expression in respect at this time concretely perhaps. The election and the appointment of the musician gathered to express them more concretely exactly have the necessity in this "New Directions". Especially, existence of John Abercrombie with flexibility. Or, the rhythm section with Eddie Gomez is harmonized and diffuses. Jack DeJohnette has the history to which it competed with player on the piano's Bill Evans. These situations and flows. Or, it is likely to contribute to harmony to which the appointment of Lester Bowie also expands the characteristic of ECM and the flavor of this album further.

It should make a special mention of the establishment of the work group of Jack DeJohnette including this album in ECM. And, the history that this album shines to Jazz contemporary's section in Academie Charles Cross in 1979 will have been proof to which originality and the reformation not simply surely caught as Hard Bop were advanced at this time. Route of Euro Jazz for musician and ECM appointed to this album to develop exactly and to establish. It might be thought that this album bears the part of one establishment and advocacy that Jazz that is taking the place from heterodoxy as legitimate gives in the 80's.

"Bayou Fever" is shape of Jazz that Jack DeJohnette exactly advocated and a flavor of Euro Jazz. And, the done fantastic consistent music character is expressed. The conversation of music by the melody and each musician of a mysterious theme advances repeating dismantlement and restructuring. Construction and harmony not to feel the call and response might express originality and diffusion well. The performance that moves freely advances making one wave.

The feature is to develop the melody not to feel "Where Or Wayne" rhythm of soupcon Latin and the characteristic of the theme. Sound of trumpet that constructs diffused melody. The construction of Chord of contrasted guitar gives it an active part. The progress of the tune by using the response and motion properly might be splendid. There is a part where constructing it with the note without the space in contains grace and aggressiveness, too. The tune including solo of bass might keep a good perfection.

In "Dream Stalker", a fantastic melody is a feature tune. This music character of four people might unite splendidly exactly. An anacatesthesia and a transparent feeling are splendidly expressed. The conversation of music by the composition in which the tempo is not felt, the development of Chord, and four people is elegant.

"One Hunded Woman" is a tune that gives interesting development. Part of construction of rhythm cymbals legato high-speed and a few Free Jazz. The tension rises further. Solo of continuing bass is done by bowing bass. Ensemble accelerates while keeping the tempo. The tension will shift to the rhythm of the shuffle before long in the latter half of the tune and become complete jazz blues.

"Silver Hollow" is a tune with a very beautiful melody. Jack DeJohnette plays the piano. It is said that Jack DeJohnette had already performed the keyboard at young time. Pat Metheny was made remarks that the piano that Jack DeJohnette did was called and it looked like the style of McCoy Tyner. Sound of trumpet with gloss in close relation to piano that does melody with expression of feelings beautifully as much as possible. Conversation of Call and response with piano and trumpet. And, solo of the guitar decides the beauty of the tune.

The expression of the performance in Special Edition and New Directions might have advocated what should be of very original Jazz for Jack DeJohnette for the field of Jazz. It might have appeared remarkably since the time of competing with Miles Davis. And, evolution and directionality are inevitably expressed in the work group at this time.

Music on this album generally is classic piano jazz trio recording. DeJohnette's collaborators Perez and Patitucci both are members of Wayne Shorter's quartet . Sound is acoustic/electric, and in all cases modern enough to sound fresh. There are enough space for improvisations as well. Possibly some post-bop compositions are not for everyone taste, but all them sound inspired and no way boring.

Inspired mix of world elements and modern jazz attracts by it's atmosphere and professional musicianship. Far not experimental work, this release is one of great musical standards for the contemporary jazz. Really recommended for jazz lovers.

My rating is 3+, rounded to 4.

P.S. Bonus DVD contains 20-minute documentary on the making of the album.

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.

All music is world fusion, but it's rare minimalistic form, with many free jazz elements. African folklore used as a main material for this music. But it's far from folk songs and dances for tourists with jazzy arrangements, one of most terrible form of world music exploitation. There you can hear real African folk roots combined with r'n'b and jazzy -influenced Jack rhythms.

Very aerial sound, a bit meditative and even hypnotic in moments. Similar music (only with East Asian elements) you can hear in many Nguyen Le albums. And in my opinion it is quite rare world jazz fusion album which can easily attract jazz fans.

My rating is 3+.