Randy Weston - Mosaic Select 04 (2003) [FLAC]

Through all the changes that have characterized pianist Randy Weston's career, one common thread has tied everything together. In the context of large groups, vocalists, trios, solos, African percussion ensembles, and many other permutations, Weston has always emphasized the connections that relate his music to the jazz continuum (and, of course, emphasizing his own vision of such). His embrace of different modes of expression has paid off over the years with a number of great records that embody vastly different sonorities.

This most recent addition to Mosaic's limited edition Select series bundles five early Weston releases from 1957-63, plus half an hour of unreleased material and one piece from a Roulette sampler. Three years after his first recording contract (with Riverside), he recorded the mostly trio Piano A La Mode with bassist Peck Morrison and drummer Connie Kay. These pieces display an elegance and restraint that never diminishes their crisp, swinging impact. "I Got Rhythm" illustrates Weston's never-predictable talent for hitting notes around the beat to round out phrases. In fact, for most of this set I found myself (sub)conciously keeping time, because—quite honestly—it's a fun thing to do when Randy Weston is around. The somber "Nobody Knows The Trouble I've Seen" digs deep into the soul of the spiritual, yet another root.

The first disc, representing two United Artist releases, launches with an attention-grabbing "Earth Birth." Melba Liston's thick septet arrangements work an Ellingtonian sophistication into the material (oddly enough, in 3/4 time); her trombone courses warmly throughout. Given this was recorded in 1958, its modern harmony and forward, interactive instrumental work set it apart. The undulating "Little Niles" starts out softly and builds energetic tension, Ray Copeland riding the waves with an extended trumpet solo that ends up shooting sparks skyward. "Spot Five Blues" heads into the heart of the blues with a prancing, eager zeal. Weston's skill as composer permeates this and the second set, a live all-star sextet recording also arranged by Melba Liston and featuring Coleman Hawkins' driving spirit on tenor.

The unreleased material from 1960 brings together a quartet with bassist Ron Carter, drummer Roy Haynes, and baritone saxophonist Cecil Payne. Payne's playing makes the quickest grab, as it reflects the warmth that has always been Weston's strength. (Baritones sure can go low… check out the apt "Honk Honk" for a brief reminder.) But Roy Haynes works his usual light touch into the proceedings, pattering here and playing a melodic role on the delicately swinging "Uncle Nemo." He interacts conversantly with Carter, whose own sense of melody never vanishes for long.

By far the most compelling material comes in the form of two African-influenced recordings made in 1960 and 1963. Weston was just beginning to turn his attention toward West Africa at this time, and so these tunes are a wonderful glimpse into his nascent change in direction. Uhuru Afrika leaves no doubt with its narrated introduction about African rebirth, four-drummer percussion section (including Nigerian master Olatunji), and regular bouncing calls to dance. The single four-part suite, arranged by Melba Liston for a large group, jumps from solo piano to thick coursing horns to drum conversation and vocals. ("African Lady" conveys a beautiful message, but the singing by Martha Flowers and Brock Peters sags way too far into sentimentality.)

The six tunes from 1963's Highlife echo Weston's travel to Nigeria, where that West African hybrid musical form was still in its nascent years. "Caban Bamboo Highlife" grooves along an easy swinging Caribbean pulse, a brief touch of tenor saxophone directly recalling Coltrane's Africa Brass. West Africa was being bombarded by New World diaspora influences in the early '60s, and so it's not at all inappropriate to journey to a New Orleans-inflected "Niger Mambo." "Congolese Children" showcases Weston's oddly dysharmonic treble theme, alternating with wildly celebratory horns. Not to slight the spirit of joy that permeates these tunes, but they rapidly fall away from any direct relationship to Highlife after the first three tracks.

Things like this are never to be taken for granted, but Mosaic has spoiled us to the point where we have come to expect a beautiful package, complete original documentation (including liner notes by Langston Hughes) and album covers, plus session photos. (Dig the picture of Weston's son Niles.)

Anyone who's curious about Weston's roots (including his turn toward Africa), as well as his productive relationship with trombonist and arranger Melba Liston, will find much to savor here. And quite honestly, if you aren't familiar with the pianist, I can't imagine a better place to start.
~Nils Jacobson, allaboutjazz.com

DISC ONE
01. Earth Birth (A) 2:50 (Randy Weston)
02. Little Susan (A) 3:22 (Randy Weston)
03. Nice Ice (A) 2:54 (Randy Weston)
04. Little Niles (A) 5:58 (Randy Weston)
05. Pam’s Waltz (A) 3:13 (Randy Weston)
06. Babe’s Blues (A) 6:55 (Randy Weston)
07. Let’s Climb A Hill (A) 5:50 (Randy Weston)
08. Hi Fly (B) 7:21 (Randy Weston)
09. Beef Blues Stew (B) 5:00 (Randy Weston)
10. Star Crossed Lovers (B) 5:09 (B. Strayhorn-D. Ellington)
11. Spot Five Blues (B) 10:42 (R. Weston-K. Dorham)
12. Lisa Lovely (B) 4:40 (Randy Weston)
13. Where 5:53 (Randy Weston)

DISC TWO
01. Earth Birth (C) 5:10 (Randy Weston)
02. Nobody Knows The Trouble I’ve Seen (C) 3:14 (traditional)
03. Saucer Eyes (C) 4:19 (Randy Weston)
04. I Got Rhythm (C) 5:22 (George Gershwin-Ira Gershwin)
05. Gingerbread (C) 2:54 (Randy Weston)
06. Cocktails For Two (C) 3:35 (Sam Coslow-Arthur Johnson)
07. Honeysuckle Rose (C) 6:28 (Fats Waller-Andy Razaf)
08. Fe-Double-U Blues (C) 5:36 (Randy Weston)
09. Portrait Of Patsy J (D) 4:07 (Randy Weston)
10. Uncle Nemo (D) 4:58 (Randy Weston)
11. Cry Me Not (D) 5:17 (Randy Weston)
12. Honk Honk (D) 2:01 (Randy Weston)
13. Saucer Eyes (D) 4:22 (Randy Weston)
14. 204 (D) 6:31 (Randy Weston)
15. C.B. Blues (D) 4:54 (Randy Weston)

DISC THREE
01. Introduction: Uhuru Kwanza (Part One) (E) 2:36 (Langston Hughes)
02. First Movement: Uhuru Kwanza (Part Two) (E) 5:45 (Randy Weston)
03. Second Movement: African Lady (E) 8:24 (R. Weston-L. Hughes)
04. Third Movement: Bantu (E) 8:03 (Randy Weston)
05. Fourth Movement: Kucheza Blues (E) 8:01 (Randy Weston)
06. Caban Bamboo Highlife (F) 2:44 (Randy Weston)
07. Niger Mambo (F) 5:01 (Bobby Benson)
08. Zulu (F) 4:40 (Randy Weston)
09. In Memory Of (F) 7:44 (Randy Weston)
10. Congolese Children (F) 2:32 (Randy Weston)
11. Blues To Africa (F) 6:21 (Randy Weston)
12. Mystery Of Love (F) 7:37 (Guy Warren)

Personnel and recording details:
(A) Idrees Sulieman (“Babe’s Blues”), Ray Copeland (all others), trumpet; Melba Liston, trombone; Johnny Griffin, tenor saxophone; Randy Weston, piano; George Joyner (Jamil Nasser), bass; Charlie Persip, drums. Arranged by Melba Liston.
On “Let’s Climb A Hill”, no horns appear and Persip doubles on tympani.
Recorded in New York City in October 1958.
Produced by Jack Lewis. Recording engineer Ray Hall.
Originally issued as LITTLE NILES (United Artists UAL 4011/UAS 5011).
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(B) Coleman Hawkins, tenor sax; Kenny Dorham, trumpet; Randy Weston, piano; Wilbur Little, bass; Roy Haynes, drums. Arranged by Melba Liston. On “Lisa Lovely” Clifford Jarvis is added as an additional drummer. On “Where” vocalist Brock Peters is added.
Recorded live at the Five Spot, NYC on October 26, 1959.
Originally issued as LIVE AT THE FIVE SPOT (United Artists UAL 4066/UAS 5066).
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(C) Randy Weston, piano; Peck Morrison, bass; Connie Kay, drums. “Nobody Knows..” and “Cocktails For Two” are piano solos.
Recorded at Beltone Studios in New York City in Spring 1957.
Produced by Lee Kraft.
Originally issued as PIANO-A-LA-MODE (Jubilee JGM 1060).
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(D) Cecil Payne, baritone saxophone; Randy Weston, piano; Ron Carter, bass; Roy Haynes, drums.
Recorded in New York City on June 4, 1960.
Produced By Teddy Reig.
“Saucer Eyes” was first issued on The Roulette Jazz CD Sampler (Roulette B2-97772). All other selections are previously unissued.
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(E) Clark Terry, trumpet, fluegelhorn; Benny Bailey, Richard Williams, Freddie Hubbard, trumpets; Slide Hampton, Jimmy Cleveland, Quentin Jackson, trombones; Julius Watkins, French horn; Gigi Gryce, alto saxophone, flute; Sahib Shihab, alto & baritone saxophone; Jerome Richardson, saxophones, piccolo, Budd Johnson, tenor saxophone, clarinet; Yusef Lateef, tenor saxophone, flute, oboe; Cecil Payne, baritone saxophone; Les Spann, flute, guitar; Kenny Burrell, guitar; Randy Weston; piano; George Duvivier, Ron Carter, basses; Max Roach, Charlie Persip, G.T. Hogan, drums; Babatunde Olatunji, African percussion; Candido Camero, congas; Armando Peraza, bongos,congas; Arranged by Melba Liston
On “African Lady” vocalists Martha Flowers and Brock Peters are added.
On “Introduction: Uhuru Kwanza” narrator Tuntemeke Sanga is added.
Recorded at Bell Sound, New York City in November 17 & 18, 1960.
Produced by Teddy Reig
Originally issued as UHURU AFRIKA (Roulette SR 65001)
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(F) Ray Copeland, trumpet, fluegelhorn; Jimmy Cleveland, Quentin Jackson; trombone; Julius Watkins, French horn; Aaron Bell, tuba; Booker Ervin; tenor saxophone; Budd Johnson, soprano & tenor saxophones; Randy Weston, piano; Peck Morrison, bass; Charlie Persip, drums; Frankie Dunlop, drums, percussion; Archie Lee, congas, percussion; George Young, percussion. Arranged by Melba Liston.
Recorded at Webster Hall in New York City in April, 1963.
Produced by Jack Lewis.
Originally issued as HIGHLIFE (Colpix SCP 456).
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Produced for release by Michael Cuscuna.
Remixed from the original three-track masters (D & E) transferred in 24-bit and mastered by Malcolm Addey at the Malcolm Addey Studio, New York City. Session C is mono. All others are stereo.
Note: The brightness and distortion on the live session (B) is in the original stereo tape and has been improved as much as possible.