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.
Issued in limited editions of 5000, these recordings are available solely through Mosaic
Records; 35 Melrose Place; Stamford, CT. 06902; (203) 327-7111. Visit
www.mosaicrecords.com for more
information or to place an order.
~ Nils Jacobson
