Jack Walrath

This superb effort by three of the day's finest players represents a fertile crossing of the old with the new. Inspired by the collaborations of Ornette Coleman's early groups, Walrath taps into jazzdom's pioneering tradition of collective improvisation.

At the same time, Walrath's unit makes full use of post-Coltrane harmonics and post-Elvin Jones rhythms. The combination makes an exciting mix with "sounds of surprise" aplenty.

"Rather than creating solos with a background," Walrath writes," a more polyphonic approach is encouraged where the so-called 'support' is as important as the 'solo.'"

The hand-in-glove interplay of the threesome is at times eerie. They really listen to one another. They also "listen" to various leaders with whom they've played -- (Chip) Jackson, to Don Cherry and Elvin Jones; (Jimmy) Madison, to Rahsaan Roland Kirk and James Brown; and Walrath, to Charlie Mingus and Sam Rivers.

Among the delights, my favorite is the deconstructive revision of I Can't Get Started . After a fairly straight reading of the tune's first phrase, the melody, rather than the changes, becomes the basis for a group improvisation that is nothing short of amazing.

As demonstrated herein, Walrath, Jackson and Madison are three exceptional talents deserving of far greater recognition. This is real jazz at its risk-taking best!

Consistent originality and aggressive ecumenism have marked the career of trumpeter Jack Walrath, whose abiding wit and wisdom seep out of nearly every line he plays. Here (on his fourth Muse) Walrath, ever the fearless listener and wide-ranging composer (due in part to the fiercely individualistic tutelage of Mingus) atypically rearranges five standards (and a Bach motet, a Charles Mingus riffer, and Ellington's "Come Sunday" in ripping, muted stoptime) for bluesy, burning guitarist Larry Coryell, alertly taut young pianist Benny Green, barreling Ronnie Burrage, and Anthony Cox, the bassist who best fills for Walrath ex-boss Mingus' tall stool. From the Saharan sweep of "Out Of This World" (mouthpiece, Moroccan rhythms) to Latin blips through "I'm Getting Sentimental Over You" Walrath proffers unusually well-conceived treatments played with daring and panache: one hour of uncompromising, fun-loving, derring-do. Walrath's last outing, Gut Feelings had a string ensemble working over Albinoni and Messaien, and still every note of every solo was pure, swinging Jack. Hear, ye!

The obscurity of trumpeter Jack Walrath in recent years is one of the great injustices in modern jazz. In fact, if it weren't for financial support from the Mary Flagler Cary Charitable Recording Program and the Aaron Copland Fund For Music, this recording may never have seen the light of day.

A gifted composer and improviser who spent four formative years with the great Charles Mingus, Walrath has gathered a group of seasoned leaders (all in their 30s and 40s) who also are some of the best players on the scene. Saxophonist, Bobby Watson, and drumme, Victor Lewis, of Omaha have been close collaborators for more than 10 hears. Pianist Kenny Drew Jr. follows in his father's footsteps, though he plays with more classical flair than his boppish dad. Bassist, Ray Drummond is on everyone's firs-call list, and saxophonist, Craig Handy has established a reputation as a most promising young reedman.

Walrath draws on a world of music for his nine original compositions. "Bouncin' With Ballholzka" is based on an ancient Macedonian scale. "Ancient Intrigues" has an exotic Egyptian feel, and "Orange Has Me Down" is a "skank" (South African reggae). While Walrath's twisted sense of humor is evident on "Song of Everywhen" and "Butt! (Tails from the Backside)," he also is inspired by divorce on the sad ballad "When Love Has Gone (It Comes Out Like This)," a suicidal friend on "Pete's Steps" and a woman's account of an abused childhood on "Sarah Hurts."

This is bold, exciting and profoundly satisfying music, music born of experience, not of a stultifying reverence for ancient jazz history.

4.5 stars

Walrath is a bit of a character, no doubt about it. That he so successfully collaborated with the crazed Mingus, is the first clue having titled songs on previous albums "Village Of The Darned", "Revenge Of The Fat People" and "Beer!" further steers him off the shoulder of mainstream jazz. And to this he brought Willie Nelson in to record Hank Williams" "I'm So Lonesome I Could Cry" during his two-album career with Blue Note --- unfortunately, a shot at the Big Time that never gathered enough listeners to keep him on the label.

Well, he has hardly tempered his direction to gather larger crowds,. Walrath continues to point the middle finger in the direction of those who find him too erratic for their tastes. The trumpeter is incorporating more influences than ever and creatively maneuvering them into stylistic train wrecks that will attract the musically prurient.

"Philosopher Stone" is bass-heavy funk-jazz reminiscent of the Joseph Bowie-led band, Defunkt. The wonderful "Blues Sinistra" offers a minor key theme borrowed from Duke Ellington's moodiest jungle music, then shifts into passionate '70s soul sermonizing by Bowman a la The Last Poets. Speaking of that decade, "Love Enough For Everybody", is soul-rock that could have been, should have been, cut during those years by War. Fiuzcynski's obnoxiously distorted guitar sound on the calypso-is "Mingus' Piano" couples with the equally fuzzy vocal soapboxing by Walrath himself on issues like tap water, food poisoning and Godzilla --- you know the pertinent stuff. "The Games" ends up sounding like one of John Zorn's cut-and-paste stylistic exercised moving from heavy Chicago blues to bebop to psycho country. There's reggae jazz on the disc somewhere too --- I can't find it again, but I know I heard it. The guy's a carnival funhouse presenting a dropping sidewalk on a spinning barrel at every turn. Some will yank the disc out of the carriage due to notions sickness, other will get in line again come the last cut. You'll probably find yourself experiencing one extreme or the other.

Jack Walrath's association with Charles Mingus began in 1974 and ended in 1979. Walrath held a leading role in Mingus' music, writing the arrangements for Mingus' last recordings and continuing with creative collaborations with Dannie Richmond and the Mingus Dynasty..

On "Get Hit In Your Soul", a collaboration with the WDR Big Band we find three compositions of Mingus ["Better Get A Hit In Your Soul", "Oh Lord, Don't Let Them Drop That Atomic Bomb On Me", "Freedom"] and five his own. From this work you have a sense of an adventure and a search for elements closer to the spirit of Mingus [than "Pussy Cat Dues" Enja]. If "Pussy Cat Dues" characterizes a straight and somehow old fashioned atmosphere , "Get Hit In Your Soul" seeks the multiform concept that is central to Mingus' music. Walrath creatively attempts to realize this atmosphere. The arrangements, the individual improvisations and the use of vocals are true to and promote the spirit of Mingus. The combination of these elements succeed since we are astonished and kept in a state of tension from the beginning until the end.

A few words about the vocals are necessary. Miles Griffith and his vocal influences are a fuse that adds fire to the album. His straight solo and the choral performances and his utilization of his voice as an instrument adds heat and exposes the soul of what is implied in both his (Mingus) and Walrath's notes. Happily and without a doubt, from every perspective, the last CD (as compared to "Pussy Cat Dues") is perfectly true to the music of the giant ( Composition, Arrangement, Stylistic and Performance of the musicians), succeeds as a unique and fabulous piece of art, and now, 22 years after his death brings the giant myth alive.

Translated by Panagiota Kazantza

This is one of the best showcases for Jack Walrath's trumpet playing. Well-featured in a trio with pianist Michael Cochrane and bassist Anthony Cox. Walrath plays five of his originals plus two by Cochrane. The music fall into the wide area of post-bop, more advanced than hard bop but not as free as most avant-garde music. Walrath, who has always had a gift for coming up with memorable songtitles (including on the LP "Li'l Stinker," "A Plea For Sanity" and "At Home In Rome"), gives each selection its own purpose, and his solos are full of spirit and consistent invention. Recommended.

HipGnosis, recorded while the Masters Suspense were on their first European tour, showcases Walrath's genial refusal of the status quo. This time, with the exception of Mingus's "Eclipse", all the tunes were composed by the trumpeter. In addition to Walrath's usual sterling performance, guitarist David Fiuczynski serves as another demented soulmate to the leader's already idiosyncratic vision of humor and art.

A subtler and more sophisticated side of Jack emerges on this delicately nuanced record. Apart from the opening "Bess, You Is My Woman Now", all the tunes are credited to Walrath and Willis, but it's some testimony to their writing skills that they all sound familiar. Jack's phrasing has never been more exquisite and his theme development on "Kirsten" and "Road To Sophia" is logical and expressive. Willis has long been a skilled arranger and, though less widely appreciated as a (piano) player, he claims a full share in this attractive album, majoring on his own "Shadows" and "Green Eyes".

The brass front line on the Steeplechase is ringingly present, and (Glenn) Ferris's old-fashioned (trombone) tone is a huge asset on "Duesin' In Dusseldorf" and "At Home In Rome", two of four Walrath originals on a relatively short-measured release that will leave most purchasers calling for more. (Anthony) Cox (bass) and (Jimmy) Madison (drums) make an interesting partnership, not always absolutely squarely on the metre, but lateral enough to keep a step ahead of a notably capricious leader.

This studio set is an excellent outing for trumpeter Jack Walrath, who is showcased in a trio with bassist Chip Jackson and drummer Jimmy Madison. Walrath's six originals all have their colorful moments, whether it be "(The Last Remake Of) I Can't Get Started" (which has solos based on the standard's melody rather than its chord changes), "Spherious ("based loosely on Thelonious Monk's interpretation of "Lulu's Back In Town"), the episodic "Baby, You Move Too Fast" and the group improvisation "Spontooneous." Stimulating and though-provoking music.

Walrath began playing the trumpet at nine years of age, later doing his stint at the Berklee College. While there he played with minor r&b groups before moving to California. In the seventies he did sterling service with Ray Charles and Charles Mingus, more recently leading his own groups worldwide. Produced by fellow trumpeter, Don Sickler, this CD is a fine example of his current work. The cover art suggests a routine trumpet quintet performance and there is certainly ample evidence of Walrath's exciting solo playing. There is, however, very much more; the arrangements consistently bring all five players into play and each has moments of front line action. The language of bebop is enlarged to embrace a plethora of serviceable textures and surprises abound. Come Sunday gets an unexpected up-tempo grilling, while Stardust is treated to one of the wildest 'all-ins' that ever disrupted Carmichael's' gentle ballad. In contrast, Walrath's own contribution to Brother, Can You Spare a Dime? could be the work of a player untouched by bop. Like so much that the trumpeter has done, this session is truly multi-stylistic.

Half the material on Portraits in Ivory and Brass consists of duets between Walrath and pianist Larry Willis. While this album reveals that Walrath is not a pretty player, it does show that his instrumental intellect and compositional skills make him an effective player. Especially interesting is his tune "Monk's Feet," an uncanny simulacrum of Thelonious Monk's style that avoids aping it slavishly.

This appropriately titled album brims, not only with enthusiasm (hence the exclamation point), but also with the sort of seasoning and experience that only a journeyman musician can bring to a performance. Trumpeter Walrath plays with a fluidity of style and invention, always reaching for the right note or the interesting musical phrase. He's also adept at composition, writing nearly everything on Journey, Man! The disc kicks off with the swinging "Bouncin' With Ballholzka," which features saxophonists, Craig Handy and Bobby Watson, bobbing and blowing through a variety of jazz styles that all seem to work. The brief, funereal "Orange Has Me Down",' based on a Henry Purcell piece, hints that Walrath might want to try something larger, like Charlie Haden and Carla Bley's gorgeous "Ballad of the Fallen," displaying a knack for jazz in the Ellington and Mingus schools as well, Walrath and his quintet transcend the negative connotations of the term "journeyman," and like a good jazz improv, turn it into something altogether different.

One of the most wide-ranging eclectics in contemporary jazz, as well as one of its most idiosyncratic soloists, trumpeter Jack Walrath thinks nothing of alluding to ska and Henry Purcell in the same piece. The trick is in making it sound natural, as he does in Orange Has Me Down, the rousing finale to "Journey, Man!" The album's echoes of Charles Mingus (most notably in the canon-like Song of Everywhen and fuming ballad Sarah Hurts) aren't surprising; as a Mingus sideman in the late Seventies, Walrath, among other duties, orchestrated the leader's pieces for larger ensembles, so he knows his Mingus, but he also knows that the key to the man's genius was in combining formal experimentation and free expression. And this is what Walrath pulls off here, eliciting from pianist, Kenny Drew, Jr., and saxophonists, Craig Handy and Bobby Watson, the same sort of heady soloing that Mingus once elicited from his men.

It all helps to make "Journey, Man!" one of this year's most dynamic jazz releases, if otherwise difficult to classify --- neither straight-ahead nor avant-garde, but a winner from beginning to end.

Montana long ago saw the tail lights of trumpeter Jack Walrath's car as it sped out of town, eastward, for work with Charles Mingus and other post-bop stalwarts. Mingus loved Walrath, and the stormy bassist is quoted on the back of the long out-of-print Montana:: "Jack Walrath has the best tone of any trumpeter since Freddie Webster." The CD restores a monstrous, long-lost session from 1980 featuring a young(er) Chuck Florence on saxes, Bob Nell on piano, Kelly Roberty on bass, and Jim Honaker on drums.

On the lo-fi set, Florence burns through his tenor sax's registers, leaving vapor trails over Nell's dissonant harmonics and Roberty and Honaker's measured clip in the rhythm section. Walrath's ballads are never tired or simply lovely, they all require sweat from the players and warrant riveted attention from listeners. Walrath bounces over the top of the group, firing out quick lines and regularly growing impatient with formal exactitude. He prefers an open-bore, fifth-gear kind of blowing.

Mingus-like, the players blast and simmer together; and Bob Nell stands well with Mingus' best pianists, Jaki Byard, Horace Parlan and Don Pullen.

With his Hard Corps sextet, Walrath seems more calmed down for Journey, Man!. Bobby Watson and Craig Handy handle the reeds, while Victor Lewis, Ray Drummond, and Kenny Drew Jr. do up the rhythms. The pieces are more subdued, with a finer polish than the 1980 session. Whether Walrath has mellowed or not, who knows, but these are calmer pieces that still jet into strange dissonances. Walrath favors a mid-register approach, digs the ballads, and seldom bursts the seams on his tunes. But that's okay, because he's gotten more architectural in his composing. Post-bop, to be sure, and lushly Mingusy (you know, the "softer" side of Charlie M.).

Montana long ago saw the tail lights of trumpeter Jack Walrath's car as it sped out of town, eastward, for work with Charles Mingus and other post-bop stalwarts. Mingus loved Walrath, and the stormy bassist is quoted on the back of the long out-of-print Montana:: "Jack Walrath has the best tone of any trumpeter since Freddie Webster." The CD restores a monstrous, long-lost session from 1980 featuring a young(er) Chuck Florence on saxes, Bob Nell on piano, Kelly Roberty on bass, and Jim Honaker on drums.

On the lo-fi set, Florence burns through his tenor sax's registers, leaving vapor trails over Nell's dissonant harmonics and Roberty and Honaker's measured clip in the rhythm section. Walrath's ballads are never tired or simply lovely, they all require sweat from the players and warrant riveted attention from listeners. Walrath bounces over the top of the group, firing out quick lines and regularly growing impatient with formal exactitude. He prefers an open-bore, fifth-gear kind of blowing.

Mingus-like, the players blast and simmer together; and Bob Nell stands well with Mingus' best pianists, Jaki Byard, Horace Parlan and Don Pullen.

With his Hard Corps sextet, Walrath seems more calmed down for Journey, Man!. Bobby Watson and Craig Handy handle the reeds, while Victor Lewis, Ray Drummond, and Kenny Drew Jr. do up the rhythms. The pieces are more subdued, with a finer polish than the 1980 session. Whether Walrath has mellowed or not, who knows, but these are calmer pieces that still jet into strange dissonances. Walrath favors a mid-register approach, digs the ballads, and seldom bursts the seams on his tunes. But that's okay, because he's gotten more architectural in his composing. Post-bop, to be sure, and lushly Mingusy (you know, the "softer" side of Charlie M.).

It's been said before, but certainly bears repeating: Jack Walrath is a trumpet player who always has something to say, yet has never gotten his due. Happily this recording comes from a company dedicated to giving such artists a taste, and Walrath and his Masters of Suspense do not waste the opportunity. Assisted by Vocalist Dean Bowman, guitarist David Fiuzcynski, (both of the Screaming Headless Torsos art-rock band), bassist Hill Green and drummer Cecil Brooks III, Walrath lays out a program, no mere blowing date.

The disc opens with a rock edge with Fuze's wicked energy wash and Bowman's yodel segueing into a relaxed groove --- but that edginess is a continual theme. This recording catches the band in mid-European tour at near peak form, as evidenced by how comfortable they are with Walrath's angular yet supremely listenable program of material --- all standards (originals) save for the obligatory Mingus (in this case "Eclipse"). Check out the piece, "Mingus' Piano", which opens as if eliciting somber platitudes, Fuze cleverly shadowing Wayne Shorter's "Infant Eyes" during his break, then unexpectedly blossoming into a Latin motif.

Walrath's sardonic humor is in full effect in several of the lyrics, all of which come from either he or the baritone Bowman; witness this gem: "...Freshly fallen snow, thick and black on 9th Avenue....an old fart tells the tale of a young dog and the boy who loves him....". All is not serious or sardonic, witness the cheerful "Premature Optimism," despite Bowman's lost love lyric. Only small quibble: next more solo space for Fiuzcynski's wicked axe.

Serious Hang, with another Masters of Suspense edition, approximates the sound of funky organ groups from the '60s doing a futuristic workout. Along for the ride this time are guitarist Fiuczynski and Walrath's former Mingus compatriot, Don Pullen, playing organ. The trumpeter/leader covers a lot of ground, arranging a Bulgarian folk tune ("Izlal E Delyo Haidoutin"), a James Brown classic ("Get On The Good Foot"), and the almost obligatory Mingus composition ("Better Get Hit In Your Soul"), in addition to a couple of tunes from Pullen and himself.

A joyous celebration of the music and the spirit of Charles Mingus, which of course Walrath experienced at first hand. Miles Griffith serves to remind us that Mingus's recitations and songs were never an incidental aspect of what he was about but were absolutely central to it, and "Oh Lord, Don't Let Them Drop That Atomic Bomb On Me" is the proof: passionate, wry and intense.

However, the real surprises on the album are Jack's compositions. The Opening "Motley As An Amorphous Hangdown" is brassy and roiling, while his arrangement of the famous Egyptian "Hymn To Aten" along Psalm CIV touches new areas of expression for the trumpeter.

In a period dominated largely by the saxophone and by the muted, melted edges of Miles Davis's trumpet style, it's good to find a player who restores some of brass's authentic ring and bite. Walrath is a hugely talented player with a tough, almost percussive sound. A high-note man in several contemporary big bands (Charles Mingus's Cumbia And Jazz Fusion and Three Or Four Shades Of Blues spring to mind, but he has also done sterling service with Charli Persip Superbands). Walrath has so far not made his deserved impact as a leader. Two good Blue Notes (look particularly for Neohippus) are still out of the catalogue, but just before going to press there was news that some at least of Jack's work for Muse was scheduled for reissue on 32Jazz Records. More on that, we hope, next time.

This is a brisk and unaffected set from an unfamiliar band, and there is no mistaking that Jack himself is very firmly in the driving seat. Though (Bob) Nell (piano) and (Kelly) Roberty (bass) are strongly represented, it's the trumpeter's dry sardonic sound which dominates from start to finish. Not the easiest of records to get hold of, but in our opinion well worth the effort.