Mike Clark
Blueprints of Jazz Vol 1
Talking House Records

Billy Harper
Blueprints of Jazz Vol 2
Talking House Records

Donald Bailey
Blueprints of Jazz Vol 3
Talking House Records
By George W. Harris

First of all, it needs to be said right up front; cudos to Talking
House Records for spotlighting musicians that have been integral parts
of the jazz scene for decades, but have been overlooked over the years.
It's refreshing to see these "old guys" listed on a cd release instead
of an obituary.

Drummer Mike Clark made his name with Herbie Hancock's Headhunters in
the 70s, playing on seminal releases as "Thrust", "Man-Child" and
"Flood", laying down a funky backbeat during those long haired days.
This session features him right in the mainstream pocket with a heavy
set of bandmates. Donald Harrison (as), new kid on the block Christian
Scott (tp), Jed Levy (ts) make up a full bodied front line, while
Patrice Rushen (p) and Christian McBride (b) combine with Clark to form
a tight and snappy rhythm section that is second to none. They did
grooves, as on "Loft Funk" or the free floating "Clark Kent" that moves
like the feet of a middleweght champ. Harrison shines throughout, with
a dramatic reading of the Coltranesque "Conchita's Dance" and the
cheerful Messengerish "Thanks Len". Scott's horn shines brilliantly on
the slinky "10th Ave. 1957", while Levy's tenor work on "In The House"
is right in the pocket. During the whole session, Clark cracks the whip
and keeps the stallions charging forward. Great stuff from a forgotten
hero.

Tenorist Billy Harper was just in town a few months ago, and he sounded
great. He's had an incredible CV, playing with Gil Evans, Thad
Jones/Mel Lewis, Blakey and Roach. He's here with his working band, and
the addition of poet/vocalist Amiri Baraka and trumpeter Keyon Harrold.
The music, which includes the duo bass work of Clarence Seay and Louie
Spears, is rich, thick and wild, mixing the passion of the local church
service with Coltranish harmonics. "Africa Revisted", for example,
opens with the deep and rich basses, slowly giving way to the fiery sax
and trumpet solos, culminating with Baraka's spoken commentary of the
history and future of Black America. The combination of anthematic
music and social commentary is inspired and inspiring. Harper's thick,
palpable tenor is able to go from pensive ("...Thoroughbread") to
passionate ("Time and Time Again") and sound convincing throughout.
Getting back to church, Harper's deep voice sings a gorgeous "Amazing
Grace" with the conviction of someone's who's experienced it. On the
other side, "Cast The First Stone" captures the emotions of the
dramatic biblical scene of the woman caught in adultery accepting
Christ's forgiveness with the power and poise. They don't make 'em like
this anymore!

Donald Bailey was THE drummer for Jimmy Smith during all those classic
sessions in the 50s and 60s, like "Chicken Shack", Midnight Special"
and "Prayer Meetin'". His deft touch is instantly recognizable, and is
in all it's glory on this session with a couple other overlooked stars,
Charles Tolliver (tp) and Odeon Pope (ts). Tolliver, who put out a wild
and wooley big band session last year, sounds full and big bodied,
particularly mixing it up with bassist Tyrone Brown on the 12 minute
"USQ/Trilogy". Pope, who spent a great part of his career with Max
Roach, is dark toned and explorative, particularly on the calypso
"Blues It" and the Giant Stepish "Fifth House." Pianist George Burton
is blisteringly fierce on "Family Portrait", and Bailey is able to push
and pull the band like a drill sergeant. Dark and formidable, a
definite choice for late Trane fans.