Sonny Simmons
Staying on the Watch
★★★★
The new school from the west coast makes its way to New York to strut their stuff on ESP. Simmons is the only player I recognize on this quintet recording, and that happens to be from his recording with three-fourths of the John Coltrane quartet, Illumination!. That album was a savory and exciting release from both the respected and innovative rhythm section, as well as the exploratory and curious horn players who were Sonny Simmons, Charles Davis, and Prince Lasha. Now, a couple years later Sonny Simmons arrives to show off his newly gained experience as well as the prowess of the members of his quintet. And it really is something to behold. I got some faint reminders of Billy Harper's album Black Saint. Not really with the soulfulness or grandeur, but a bit with the boundaries it was trying to push while still remaining lyrical and holding onto conventional song structure. It's actually much more sonically up to par than I expected when it comes to the ESP label. I think that's a bonus in the case of Sonny Simmons; the DIY aspect of their earlier recordings would not have done Simmons any favors. And with only four tracks, Simmons is surely trying to display his talent in a professional and confrontational manner.
"Metamorphosis" starts with this clunky phrase that is repeated a number of times. It's clunky in a Mingus kinda fashion, it doesn't take itself too seriously and is trying to draw some emotion from you. There's moments where him and his wife, trumpeter Barbara Donald, pay homage to the bebop legends and it comes off as smooth as possible. It's not like the many variations and rehashes of bebop that continue to this day; it's more like an alloy that's been created to bridge the gap of the past and the new Afrocentric jazz music of the time. John Hicks on piano is running a hundred miles a minute while splashing waves of keys at you in a sped up bebop manner. It's very unique and sometimes maybe a bit out of place when compared to the general playing style Simmons adopted for this song. But for the last five minutes he takes hold of your neck and squeezes it, as the horns drop out until the very end. Teddy Smith has a bluesy bowed bass solo about halfway in that serves as a sort of intermission. Then the percussion and piano stay on the bench, so does Barbara, just to let Simmons and Teddy Smith to perform a not-so-duo duo. on "A Distant Voice" they aren't playing off each other so much as introducing their own ideas. Smith bowed bass serves almost as a drone for Simmons's very ancient and Middle Eastern playing style. It could easily pass as any Arabic type jazz.
"City of David" is the definitely the star piece if there has to be one. It's fifteen minutes of controlled chaos in the most passionate manner possible. It's probably the first song on here that I really felt the presence and ability of percussionist Marvin Pattillo. Barbara Donald also shreds the trumpet and everything around her into tiny, fragmented pieces. It's burning hot and everyone else seems to stand back and watch her ignite. John Hicks shows me once more how powerful and spiritual of a player he is. It's an example of a song that ensures its players shine bright during their solos, while still being able to communicate fluidly with each other in between it all. The solos by themselves are flooring on this song, but what's even better is the transitions they are able to make between each one. It's a series of memorable speeches that just pull you in like a magnet. The last song, "Interplanetary Travelers", is an obvious ode to the Sun Ra Arkestra that was churning out records nonstop at the time. It's definitely on the disorderly and spacey side, more than any of the other material I've heard from Simmons thus far. The bass and drums really add to that feeling, and the darkness of it all adds a fog of uncertainty that's hard to see through. It made a powerful and memorable impression on me, and I think the choice to leave out Hicks made it all the more sparse and daring.
The cover image of Simmons bringing his proclaimed gospel to the East is backed up with his music. He brings forth players that are new to me, and that I'm really impressed with. The number one spot probably goes to John Hicks, it's difficult to find piano players that are so consistent through every song while still being able to reflect his soul in the music. Simmons's quintet was certainly ahead of the curve and I'm positive that this release, and others, made an impact on many jazz musicians of the future. He brings forth the bit of Charlie Parker that every jazz saxophonist holds, but in a way that is in no way cliche or bland. He morphs the rhythmic changes into something bigger than himself, and that's reflected in the playing style of his peers. His wife Barbara really proved to be a fiery and wild player that caught me off guard more than a couple of times. And Teddy Smith became part of the ground below him, making his bass vibrate with an Earthiness that not many can. Whether bowed or plucked, he helped set the mood in a very inadvertent manner for me. It's one of the better ESP releases I've heard and I'm sure that this era was not only a high point for the label, but also for Simmons and most likely the rest of his band. Simmons was the watch guard for the West coast, and came to show the East what they were missing out on.
Favorite Song: City of David
"Metamorphosis" starts with this clunky phrase that is repeated a number of times. It's clunky in a Mingus kinda fashion, it doesn't take itself too seriously and is trying to draw some emotion from you. There's moments where him and his wife, trumpeter Barbara Donald, pay homage to the bebop legends and it comes off as smooth as possible. It's not like the many variations and rehashes of bebop that continue to this day; it's more like an alloy that's been created to bridge the gap of the past and the new Afrocentric jazz music of the time. John Hicks on piano is running a hundred miles a minute while splashing waves of keys at you in a sped up bebop manner. It's very unique and sometimes maybe a bit out of place when compared to the general playing style Simmons adopted for this song. But for the last five minutes he takes hold of your neck and squeezes it, as the horns drop out until the very end. Teddy Smith has a bluesy bowed bass solo about halfway in that serves as a sort of intermission. Then the percussion and piano stay on the bench, so does Barbara, just to let Simmons and Teddy Smith to perform a not-so-duo duo. on "A Distant Voice" they aren't playing off each other so much as introducing their own ideas. Smith bowed bass serves almost as a drone for Simmons's very ancient and Middle Eastern playing style. It could easily pass as any Arabic type jazz.
"City of David" is the definitely the star piece if there has to be one. It's fifteen minutes of controlled chaos in the most passionate manner possible. It's probably the first song on here that I really felt the presence and ability of percussionist Marvin Pattillo. Barbara Donald also shreds the trumpet and everything around her into tiny, fragmented pieces. It's burning hot and everyone else seems to stand back and watch her ignite. John Hicks shows me once more how powerful and spiritual of a player he is. It's an example of a song that ensures its players shine bright during their solos, while still being able to communicate fluidly with each other in between it all. The solos by themselves are flooring on this song, but what's even better is the transitions they are able to make between each one. It's a series of memorable speeches that just pull you in like a magnet. The last song, "Interplanetary Travelers", is an obvious ode to the Sun Ra Arkestra that was churning out records nonstop at the time. It's definitely on the disorderly and spacey side, more than any of the other material I've heard from Simmons thus far. The bass and drums really add to that feeling, and the darkness of it all adds a fog of uncertainty that's hard to see through. It made a powerful and memorable impression on me, and I think the choice to leave out Hicks made it all the more sparse and daring.
The cover image of Simmons bringing his proclaimed gospel to the East is backed up with his music. He brings forth players that are new to me, and that I'm really impressed with. The number one spot probably goes to John Hicks, it's difficult to find piano players that are so consistent through every song while still being able to reflect his soul in the music. Simmons's quintet was certainly ahead of the curve and I'm positive that this release, and others, made an impact on many jazz musicians of the future. He brings forth the bit of Charlie Parker that every jazz saxophonist holds, but in a way that is in no way cliche or bland. He morphs the rhythmic changes into something bigger than himself, and that's reflected in the playing style of his peers. His wife Barbara really proved to be a fiery and wild player that caught me off guard more than a couple of times. And Teddy Smith became part of the ground below him, making his bass vibrate with an Earthiness that not many can. Whether bowed or plucked, he helped set the mood in a very inadvertent manner for me. It's one of the better ESP releases I've heard and I'm sure that this era was not only a high point for the label, but also for Simmons and most likely the rest of his band. Simmons was the watch guard for the West coast, and came to show the East what they were missing out on.
Favorite Song: City of David
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