From the blog a jazz listener's thoughts:
Before talking about that recording, I want to talk about Tracey's
"Under Milkwood: Jazz Suite" (Resteamed Records 2008), which was originally released in 1965 and is even considered today to be one ofTracey's crowning achievements. On
that recording,
Tracey
is joined by Bobby Wellins on tenor saxophone, Jeff Clyne on bass, and
Jackie Dougan on drums. It is the incredible interplay between Tracey's
piano and the tenor saxophone of Bobby Wellins that really stands out on
the recording, and many consider this to be Wellins' crowning
achievement as well. Tracey's roots were in Thelonious Monk and Duke
Ellington, but he was beginning, with other U.K. players, to find his
own voice, shifting from imitations of American bop and swing to
original material.
"Under Milkwood: Jazz Suite"
was really distinctive, writing by Tracey with its lean beauty and
respect for the spirit of the play by Dylan Thomas. Wellins was often
criticized at the time as a player slavishly copying the U.S. masters
like Charley Parker, but in fact demonstrates here his originality
and style to great effect. It is his restraint from over blowing, his
lovely tone, his use of silences in his solos, and his ability to create
variations of lightness and shade that distinguish him here. There are
no endless streams of blowing, no rambling; the music is concise and
demonstrates clearly the close relationship between Wellins and Tracey.
"Cockle Row" opens the suite with a drum solo, a bouncing tenor
line, and then the whole band playing a rather nice mid-tempo romp.
Everyone solos, and everyone also supports each other when the entire
group is playing. Wellins gets the opening lead, as he does for much of
this CD, and demonstrates why he is still active and revered in the U.K.
today as one of the pioneers of U.K. jazz. He demonstrate a light
touch, round sound, and comfortable play. Tracey matches it with his
solo and an equally nice touch and bounce. The drum set is omnipresent
but not overbearing, and keeps everyone on tempo. Wellins is absolutely
brilliant in his concept for
"Starless and Black Bible" as his
quiet tone floats above subdued piano chords to evoke the timelessness
and atmosphere of Dylan Thomas' work. This is the most restrained
piece; otherwise, there are many solid boppish tunes worthy of any of
the great combos, U.K. or U.S., of the time. There is a very nice
opening piano line to
"I Lost it in Nantucket", played in a lower
octave and at first sounding like the start of the Adams family theme.
From there the song is Tracey's to play with, in an almost Monkish way,
with simple touches, pauses, and openings for others to join in.
"LLareggub"
sees Wellins jumping into a nice uptempo song that is his feature until
Tracy takes over midway with his own lively blues sound. "
Under Milkwood"
is a slow ballad for Tracey and Wellins to shine on with lovely long
passages. It features lush playing, with nice restrained drum support
tracing the tempo and adding little pops of coloring here and there. "
A.M. Mayhem"
has a lovely opening solo and then the entire group enters and takes a
swinging approach to the song, with solid drum play and a moving bass
line to give it its punch, its bounce. It is all Wellins to start, with
Tracey comping nicely in support. Only after four minutes of swinging
sax does Tracey takes over and then trades off to the drums and bass
before the entire group takes it out.
Tracey's pianism varies in touch and tone with great virtuosity, and as
with Wellins, he knows how to keep his solos short and concise even as
he is creating great impressionistic swaths of sound. This is absolutely
first rate, and should be a part of anyone's collection. It is not
well-known to U.S. listeners so I hope those who are reading this will
give it a try.
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