Wednesday, February 11, 2009
Rediscovery: The Mysterious Flying Orchestra
Bob Thiele (1922-96) is best remembered as a producer who oversaw a great many historic jazz sessions from the 1940s through the 1990s, most notably supervising Impulse recordings during its golden period (1960-69). The producer is most appreciated by jazz listeners for giving John Coltrane carte blanche to record exactly how he pleased and as much as he pleased while at Impulse.
What's not so well known is that Thiele recorded a number of albums under his own name, including Thoroughly Modern (1967), Do The Love (1967), Light My Fire (1967, with Gabor Szabo), Head Start (1970, with Tom Scott), Those Were The Days (1971), The 20s Score Again (1974), I Saw Pinetop Spit Blood (1975, with Oliver Nelson), Sunrise Sunset (1991, with David Murray), Louis Satchmo (1992) and Lion Hearted (1993).
It's an odd lot, to be sure, and there's not a classic in the bunch. Thiele, whose participation on these records was limited to "musical director" and occasional percussion, gathered some of the high-caliber talent he'd nurtured elsewhere to play some music that was probably a little outside their usual scope of interest. No doubt, they were glad to get a paycheck. But, even as strange as some of it is, there are buried little treasures to be found here and there that will have appeal to fans of each record's almost legendary musical participants.
One of the more notable treasures in this lot is a Bob Thiele album that doesn't even bear his name - or anyone else's! - called, enigmatically enough, The Mysterious Flying Orchestra (TMFO - one wonders if the letters were meant to convey something else). Issued in early 1977 on RCA, where Thiele's Flying Dutchman had recently been folded into extinction, this LP - which is unlikely to ever see the light of day on CD - comes across almost as a joke…until you listen to it.
The LP's cover is enough to put off even the most ardent crate digger. It bears the strikingly strange airbrushed image of the middle-aged Thiele, thumbs up Fonzie style, in a vintage 20s-era pilot's get up. Wasn't Snoopy doing this sort of thing in The Peanuts too? This goofy pose inspired the equally silly icon for Thiele's Doctor Jazz logo and again (!) for his later Red Baron imprint. The back cover lists no song titles and criminally neglects musician credits (mysterious, indeed!) and sillies up the proceedings by picturing a number of musicians as bats - yes, bats - flying around a hilltop castle.
TMFO, though, is a star-studded fusion bacchanalia that, unlike so many other projects under Bob Thiele's name, gets much more right than wrong. An impressive array of jazz soloists are present here, including Larry Coryell, Steve Marcus, Eddie Daniels, Bob Mintzer, Lonnie Liston Smith and Charlie Mariano and the cream of New York's session players: Jon Faddis, Lew Soloff, Don Grolnick, Gene Bertoncini, Jerry Friedman, Wilbur Bascomb (a key point of the album's success), Andy Newmark and Guilhermo Franco.
This mysterious orchestra really gets down to it and flies particularly well on the record's first side, or "side one" for those of you that remember LP-speak.
Horace Ott's "Improvisational Rondo For Saxophone And Guitar" starts things off in a roaring way, fading in from the ether to reveal a rambunctious, startling piece of jazz funk. The groove may call up disco to many, but what's going on is clearly freeform jazz engaging with orchestral flourishes in a soulful, get-down setting. Ott lays down a thumping funky rhythm that seems to pick up a pace firmly in line with the players' adrenaline. Driven by Wilbur Bascomb's energetic bass patterns, Ott embellishes with some striking and playful string work that evolves and grows more interesting as the groove deepens. On top of all that, Larry Coryell's guitar matches wits with Steve Marcus's soprano sax and both play freely in and around all the fascinating lines Ott spins. Coryell featured on Marcus's earliest recordings, which explains the ideal synergy the two share here on this first-rate funk jam.
Lonnie Liston Smith contributes two pieces to the album, including the wonderfully moody "Shadows," up next. Smith, whose earliest records were supervised by Thiele, had already recorded "Shadows" and "Summer Days" for his 1975 album Expansions (Flying Dutchman). Smith's melody is rather slight, which requires TMFO, in Ott's arrangement, to create the right atmosphere, perfectly voiced by the horn section. Smith is heard beautifully dancing throughout the piece on electric piano, offering a voice that was already one of the instrument's most distinctive at this point. Marcus solos on tenor sax.
Next up is "A Dream Deferred," Bob Thiele and Glenn Osser's tribute to Oliver Nelson, a frequent Thiele associate, who had died shortly before this recording was made. It's vexingly appealing. It's like a waltz that never gets going, but manages to sustain interest through some well-considered playing. Horace Ott's gorgeous strings carry the melody and the solos are by Don Grolnick on electric piano and Eddie Daniels on flute. Thiele would later resurrect this theme, to decidedly lesser and lazier effect, on David Murray's MX (1992), but here the title - which comes from Langston Hughes - gets a cheesy dedication to "JFK, Malcolm, John Coltrane, etc." with no mention of Nelson whatsoever.
Side two of TMFO is substantially less interesting, but not altogether awful, with Smith's "Summer Days," a MOR fusion number showcasing worthy solos from brother Donald on flute and Charlie Mariano on soprano sax (Lonnie does not play), and Horace Ott's mildly funky "Nice 'N Spicy" (in a David Matthews bag), featuring Daniels on flute and Marcus and Bob Mintzer on dueling tenor saxes. The less said about Theresa Brewer's vocal feature on the sappy "There Was A Man Named John" (for John Coltrane), the better. Mariano solos here too.
TMFO is a strange, not altogether perfect album. But if funky fusion made by some of jazz's best improvisers appeals to you, this record's first side is absolutely essential. Considering side two as the album's "bonus tracks" makes the meaty content seem pretty brief. But it's 19 minutes of exciting music that's worth hearing over and over again.