In a Silent Way: Fusion Gets a Mockumentary

Jazzen Goodman is an idiot, but for us jazz fans, but he is probably the closest thing we will get to our own version of Spinal Tap. Somewhat counterintuitively, Goodman is obsessed with jazz fusion, with the kind of passion we might expect more for Hard Bop, or maybe even traditional New Orleans styles. He is not completely lacking in talent, but he is definitely his own worst enemy in Collin Levin’s mockumentary, In a Silent Way, which is now available on VOD.

Despite sharing a title with Miles Davis’s classic album (featuring Joe Zawinul and Wayne Shorter), Goodman seems to identify more with Weather Report and fictional saxophonist Mark Eric Rothco, whom he is sure to alienate sooner or later. So far, his band has been loyal to him, thanks to the drummer Yoshi, who is the real glue holding them together. However, Goodman is convinced he is the star and the presence of the documentarian filming him (not entirely unreasonably) confirms his judgment.

Unfortunately, Goodman is constantly humbled by the LA music scene. Often, it is his own fault. Already over-eager, the guitarist really kicks his stalkerish impulses into overdrive when he convinces himself he had a premonition revealing he only has one month to live.

For someone who loves jazz, In a Silent Way can be painful to watch. Most of the musicians I know are absolutely nothing like Goodman, but there were one or two who might share some of his self-defeating tendencies. As a depiction of scuffling fusion players, it is only too realistic. However, the prevailing vibe is not one of humor, but rather awkward uncomfortableness.

Co-writer Nicolai Dorian is so all-in as Goodman, he will have viewers tearing their hair out. His lack of maturity and self-awareness gets exponentially more difficult to witness. The rest of the band is stuck in his shadow, except (somewhat) Dillon J. Stucky as the sympathetic Yoshi. However, Jim Meskimen feels totally legit playing legendary fusion record producer, “Tape” McDuffy. Plus, keyboardist Scott Kinsey briefly appears as himself, for added authenticity.

It is frustrating that even in a film like In a Silent Way, music comes dead last in the final credit roll. You would hope that the producers would value the musicians’ contributions and viewers of a film like this would surely be interested to know who they were. Regardless, Jacob Scesney, Isamu McGregor, Joey Lefitz, Balam Garcia, and Zephyr Avalon sound great on numerous selections (some also featuring Goodman’s reedman rival, Nikaras). Logically, there are also several tracks from Kinsey: “Baba Moussa,” “Kingpin,” and “Near Life Experience.”

Return to Forever Returns

Return to Forever Returns
Eagle Records 2-CD set

One of the big three jazz-rock fusion super-groups (along with Weather Report and Tony William’ Lifetime), Return to Forever was no stranger to the Billboard charts, not only ranking high in the jazz album category, but also cracking the pop album list (albeit somewhat lower, but still at quite a level for a jazz band in the 1970’s). Given their enduring popularity, there would be great demand for RTF’s reunion tour last year, which is now documented on the live two-CD set, Return to Forever Returns.

Although the group’s personnel changed several times, de facto leader pianist-keyboardist Chick Corea was a constant presence. In 2008, to mark the thirty-fifth anniversary of RTF’s founding, over twenty-five years after disbanding, Corea reunited with the band’s classic line-up of Al di Meola on guitar, Lenny White on drums, and Stanley Clarke on bass. Fortunately, they recorded several shows for posterity, with the bulk of the CD-set coming from a Clearwater, FL concert, and a DVD of their show at the Montreux Jazz Festival to be released shortly.

For the thirty-fifth anniversary tour, RTF largely gave fans the classic hits they wanted. The only new composition on RTFR is the abstract “Opening Prayer,” which really sounds like a prologue to “Hymn of the Seventh Galaxy,” the title track of one of the most celebrated fusion records of all time. RTFR opens with hard-driving power, propelled by di Meola’s guitar, which slashes through the following “Vulcan Worlds.” However, he tones it down for an acoustic duet feature with Corea, segueing through a medley of their solo compositions and Astor Piazzolla’s “Café 1930,” concluding with “Spain,” probably the pianist’s most covered standard.

The first disk concludes with “No Mystery,” a RTF greatest hit if ever there was one, here arranged largely as an acoustic number, showcasing Corea’s still dazzling technique on piano. Following a solo feature from Corea that blends into a straight ahead jazz trio rendition of “Solar” by his one-time boss Miles Davis, the second disk is dominated by selections from Romantic Warrior, their first album for Columbia, which would peak at #35 on the pop album charts. It was a departure from previous RTF albums in that it took inspiration from medieval fantasy rather than cosmic imagery. Again, their live take of the 1976 album’s title track is largely acoustic, even featuring some arco bass work from Clarke.

“Warrior” recurs two more times on the second disk, including a spirited version recorded live during the BBC ceremony awarding the band a lifetime achievement award. (While Sir George Martin’s presentation at the start of the track is all very nice, it quickly gets old with repeated listening.) The longest track of the set is also drawn from the Warrior album. An extended suite, “Duel of the Jester and the Tyrant” is jazz-rock suitable for stadium concerts, with di Meola blazing away and Corea going electric throughout (with synthesizers occasionally recalling that cheesy 1970’s keyboard sound).

Although RTF will always be considered to some extent Corea’s band, there is no question the strong musical personalities of di Meola, Clarke, and White helped push the band to the forefront of the fusion movement. Thirty-five years after the band first formed, they are still playing at a scarily high level, both acoustically and when plugged-in. RTFR should definitely please their fans and it would also serve as an excellent introduction to the band for new listeners.

Imaginary Column-Earth-Satellite Dish Live

Imaginary Day Live
By the Pat Metheny Group
Eagle Eye Media

Pat Metheny is unusual among jazz artists in that when he tours, he brings serious gear and can afford guys to carry it all. You can see them setting up for a series of concerts at the Mountain Winery on Imaginary Day Live, the latest live DVD release from the Pat Metheny Group, of course featuring Lyle Mays on piano and keyboards.

Day was part of a concert tour to support the CD of the same title, with the seven of the ten tracks on the DVD drawn from the record’s nine tunes. The original CD cover art was notable for the picto-cryptograms used for the titles, which has been expanded for the DVD, with “Live” becoming egg-pocket watch-Empire State Building-elephant. Day was also notable as Metheny’s most fully realized immersion into jazz-rock territory at the time, which is reflected in the live concert performance.

Metheny seems to prefer starting concerts with a solo performance, which “Into the Dream” essentially is, concluding with some percussive accompaniment. The full band then launches into “Follow Me,” which is vintage Metheny—highly melodic with a medium tempo groove and some nicely harmonized background vocalizing. Probably the best straight-ahead jazz solos come in the following “A Story Within the Story” from Metheny as well as from trumpeter Mark Ledford. The interludes featuring his muted horn and Philip Hamilton’s melodica add a nice flavor to the tune.

Easily the most full-throated jazz-rock excursions are heard on “Imaginary Day” and “The Roots of Coincidence.” The synths on the latter can be a bit overbearing, approaching Floyd levels, but it is a high octane performance (with Mays playing second guitar).

Considering Day represents Metheny’s jazz-rock period, there are a surprising number of moody, introspective tunes, like “Across the Sky,” “Message to a Friend,” and “September Fifteenth.” As heartfelt as Metheny’s performances are, they lose some of their immediacy on video. More successful are the Latinesque “Heat of the Day,” which recalls some of Chick Corea’s Spanish-inspired compositions and features a dramatic solo from Mays, and the up-tempo set-closer “Minuano (Six Eight).”

Day is a very good set that is sure to please his fans, but if you are looking to start your Metheny DVD collection, I would recommend beginning with The Way Up Live, also from Eagle Rock. Not to disrespect Day, but where it is solid, Way Up is outstanding and remains Metheny’s best work to date.

Jazz Score: Le Menace

If you have seen Wages of Fear, you know there will be trouble whenever Yves Montand gets behind the wheel of a big rig. In Alain Corneau’s Le Menace, the big trucks come accompanied by a deadly love triangle and a nifty jazz score by Gerry Mulligan, which is why it is screening as part of MoMA’s Jazz Score film series.

Henri Savin might be considered a man of the world. A French trucking manager with an extra lover and sketchy past, he does not have much faith in the law. Savin has broken off his affair with Dominique Montlaur, the owner of his trucking firm which bears her name, but she refuses to accept that it is over. In desperation, she ambushes Julie Manet, Savin’s pregnant younger lover, first attempting bribery, than resorting to physical violence in hopes of running her off. When all else fails, she does a header off a cliff, inadvertently creating serious trouble for Savin and her rival—a measure of revenge she would not live to savor.

As the police investigate her death, suspicion falls on Manet, the last person to see Montlaur alive. When Savin’s advice of denial lands her behind bars facing a murder rap, Savin takes it on himself to clear her name, by framing himself. He has no intention of sacrificing himself though, expecting to flee to his old Canadian stomping grounds once he has finished manipulating the plodding coppers. While in France, Menace follows in the tradition of Clouzot thrillers like Diabolique, but when it moves to Canada, it veers into Duel territory. Let’s just say this is indeed a film about big trucks.

The effect of Mulligan’s rich, warm baritone saxophone underscoring the sight of Savin’s eighteen-wheeler rumbling over the open road is surprisingly effective, giving a lush 70’s feel to the film, in the best sense. Mulligan composed the score during what was considered his fusion period, due to his use of moog and synthesizer effects. Compared with much of the era’s music though, his score is still relatively straight-ahead jazz.

Dave Grusin, no stranger himself to soundtrack work (Three Days of the Condor, The Firm), provided an organizational assist and is heard on keys throughout. Jay Leonhart and Jack Six shared the bass duties, joining either Bobby Rosengarden or Michael DiPasqua on drums, with various keyboard players augmenting the ensemble. The soundtrack, together with unused themes, was issued under the title Watching & Waiting, which holds up well when heard apart from the film’s visuals.

Menace is the sort of naturalistic crime drama European filmmakers used to excel at. It might have benefited from a little tightening (and the slip-shod subtitles do not do it any favors), but over all, Menace is a clever film, well served both by Mulligan’s music, as well as Corneau’s judicious use of silence. It screens again on Monday.

RTF35

Return to Forever
The Anthology
Concord Records

Budapest is a beautiful city, but the only sight I wanted to take a picture of were the huge transit advertisements for the upcoming Return to Forever concert, much to the bewilderment of my Czech and Slovak companions. Over twenty-five years have passed since RTF disbanded and thirty-five years since Hymn of the Seventh Galaxy redefined the Chick Corea led band in a fusion super-group context. That entire album is included in a new RTF collection, remixed, re-mastered, and released to coincide with their reunion tour, simply titled The Anthology.

In addition to the complete Hymn, 1976’s Romantic Warrior is also included in its entirety. From the intervening releases, just the brief solo piano interludes from Where Have I Known You Before are omitted, which might be nice within the actual album, but can easily be dispensed with in the anthology format. The only substantial tracks from this four year period not included on Anthology come from the No Mystery album, but the hit title track is indeed represented, making it a good value, perhaps not for completists, but for those looking to plug gaps in their collections.

Hymn really is a highpoint of the fusion era. Though RTF had still not coalesced into the celebrated quartet of Chick Corea, Lenny White, Stanley Clarke, and Al di Meola, their now overlooked guitarist Bill Connors was a key ingredient for the first album’s success. The title tune establishes a hard-driving rock edge for the then new RTF incarnation. “Captain Senor Mouse” is an ingenious reworking of the Corea standard for the brave new jazz-rock world. Hymn is actually quite a melodic session, with real bite provided by Connors’ guitar.

On Where di Meola replaces Connors, but the same jazz-rock ethos remains. The vibe is a bit mellower though, particularly on White’s “The Shadow of Lo,” although de Meola eventually heats it up, and on Corea’s short interludes (again, only the guts of the album are included on Anthology). No Mystery, the other partial album of the set, happens to be the most uneven, but it does include a classic rendition of the title track.

With Romantic Warrior, RTF’s imagery shifts from science fiction to fantasy, but that is alright, Corea’s spiritual leader wrote both. White’s “Sorceress” is quite funky, but features an engaging acoustic solo from Corea. Rhapsodic and sweeping, Corea’s title track is also largely acoustic. It concludes with the sprawling jazz-rock epic “Duel of the Jester and the Tyrant, part 1 & 2,” which perfectly exemplifies the strengths and weaknesses of the group. Corea has always been a strong composer, and di Meola’s virtuoso guitar work is frequently incendiary but the keyboard effects can sometimes sound dated (to put it diplomatically).

Their world tour and release of Anthology offers a good opportunity to take stock of RTF and the era they were a part of. Along with Weather Report and Lifetime, the fusion years marked the only real period in jazz history when small groups really were bands, and not just combos backing up a famous leader. Of course, Corea was the driving force of RTF, as Tony Williams was for Lifetime. RTF might sound very much of their time, but the vitality of these sessions remains undeniable. For fans of the acoustic Corea, New Crystal Silence, his latest collaboration with Gary Burton, will be more to your liking. For fusion enthusiasts, your wait will soon be over. The U.S. leg of their tour starts July 31st.