Charlie Mariano - DEEP IN A DREAM

[JSngry]

Haven't bought this new release on Enja Justin Time yet, but it's been in heavy rotation on KNTU, and it's just a matter of time...

Like Von Freeman's THE IMPROVISOR and Teddy Edwards' SMOOTH SAILING, DEEP IN A DREAM presents a more-than-veteran saxophonist in a program of straight-ahead material. More importantly, and also like those albums, the saxophonist in question has developed a totally personal expression, and sounds like nobody else. I've never DISLIKED Mariano's work, but neither have I felt compelled to really explore it either, his epochal work on THE BLACK SAINT AND THE SINNER LADY notwithstanding, so this album, what I've heard of it, comes as a bit of a revelation. This, ladies and gentlemen, is "straight ahead" jazz the way it doesn't get played very much these days - deeply, DEEPLY personal in every aspect (especially in Mariano's tone and articulation, which I think would be impossible for anybody to duplicate, and how many players of this type music on the scene today can you say THAT about?), full of thought AND feeling that go beyond the obvious into the sublime, and an overall quality that is at once serenely relaxed and constantly probing.

In other words, this is music by an old guy (Mariano, according to AMG, turns 80 this year), and there is no "second hand" quality to his playing whatsoever. Indeed, aside from the aforementioned albums, it's been YEARS since I've heard "standard" melodies played so personally, or these type changes dealt with so organically, at least on a recording. If I say that Mariano here combines the tonal quality of Ernie Henry with the spontaneous phrasing of Lee Konitz, don't take that as a literal description, it's not. But it is the only comparative description that comes to mind to describe playing that really defies comparison.

And talk about emotion - the first tune I heard off the album, without knowing who it was, was "I'm A Fool To Want You", a tune that is not to be trifled with if one wishes to get to its heart (Sinatra's WHERE ARE YOU version is the reference point for me, in many ways, and for many things). I was driving when this tune came on, and halfway through the first chorus, I had to pull over, stop the engine, and just listen, so powerful was the presentaion of the melody. I can't remember the last time that that's happened. The improvisation continued the story began in the melody and didn't go off into a lot of change-runnung, as is so common in the playing of ballads. This, I thought to myself, is a PLAYER, a musician of the highest order, one who actually DOING what most folks today merely attempt. When it was announced as being Charlie Mariano, I was more than a little surprised, but that's my bad, I suppose...

The other tunes that KNTU has aired ("You Better Go Now", "Spring Is Here", and "Deep in a Dream") have all had the same quality, although my personal emotional attatchment to "I'm A Fool To Want You" no doubt is coloring my assessment of that tune as being the best I've heard so far. The rhythm section (Bob Degen, Isla Eckinger, & Jarrod Cagwin) is expert and sympathetic, but it is no dis to them to say that they're more effective as support to Mariano than as soloists and/or as a distinctive sounding trio. To get that, you'd have to have guys of Mariano's age and life experience, and how many of THOSE are around? Which, for me, is exactly why this music is so special - there just AREN'T too many guys like this around any more, guys who continue to grow and deepen in wisdom and feeling, and whose music does the same.

In short, a rare and special presentation, at least what I've heard of it. Has anybody heard the whole thing? Is it all this good? Comments, please, if you have!

Edited May 22, 2003 by JSngry

[RDK]

Haven't heard this yet. Thanks for the heads up - it sounds good.

[A Lark Ascending]

I really like Mariano - my first experience was with Eberhard Weber's group and the United Jazz and Rock Ensemble. He's also done some interesting projects with Asian musicians. A man with big ears (metaphorically speaking).

[John Tapscott]

In other words, this is music by an old guy (Mariano, according to AMG, turns 80 this year), and there is no "second hand" quality to his playing whatsoever. 

Which, for me, is exactly why this music is so special - there just AREN'T too many guys like this around any more, guys who continue to grow and deepen in wisdom and feeling, and whose music does the same.

Charlie had "it" when he was younger, too. Listen to him on Bill Holman's arrangement of "Stella by Starlight" from Stan Kenton's Contemporary Concepts CD (just re-issed by Capitol). He had feeling, depth, and great tone back then, too, when he was still in his 30's. And he's continued to grow over the years.

I haven't got the new Justin-Time release yet, but I've read 3 very positive reviews, including Jim's. This is one I'll have to pick up.

[JSngry]

Got this one for Fathers Day, and it's a very good'un indeed. I mean no slight when I say that Mariano's melody statements overshadow his improvisations. His soloing is very, VERY good, an ongoing quirky leap up into the altissimo register notwithstanding. But BOY does he bring a lot to (and out of) those melodies!

Recommended, and with not a little enthusiasm. Repeatly being played here.

[brownie]

Jim, thanks for calling attention to the new Mariano release. Had sort of given up on

this great player when he went exotic. Will be looking for that one.

[DrJ]

I'll definitely check it out, thanks for the review Jim. Mariano is indeed an original, and I have thus far been out of the loop on his later work.

I enjoy his work with Mingus tremendously - BLACK SAINT and also MINGUS MINGUS ETC. It's not an exaggeration to say that without his keening, passionate alto solos and work in the ensembles, the music would not have worked at nearly the same exhalted level. He was, for me, the spark plug on those dates.

A few early Mariano sightings that folks might be interested in checking out, particularly to compare where his art began to where he went with Mingus and has now ended up:

CHARLIE MARIANO WITH HIS JAZZ GROUP (Imperial) - I think still in print on a TOCJ paper-sleeve import, early leader date (maybe his first?) from 1950-1, with a Boston crew including Jaki Byard (Jaki Byard! Yes! His jazz standard "Chandra" is one selection too) and Herb Pomeroy on trumpet.

STU WILLIAMSON (Bethelehem, 1956) - another Japanese import CD. Whether you are a Mariano fan or not, DO NOT MISS THIS RECORDING, repeat DO NOT MISS THIS RECORDING. Williamson was a neglected master of jazz trumpet, and he soars here. In addition to Mariano playing fine alto (and still sounding like Mariano even early on), Bill Holman is on tenor, Jimmy Giuffre on baritone, brother Claude Williamson on piano, Leroy Vinnegar on bass and Mel Lewis at the traps. Fine arrangements, great playing all around, these kinds of Bethelehem dates are a great argument for some type of Mosaic treatment now that the U.S. Bethelehem reissue program seems to have bitten the dust.

Edited June 28, 2003 by DrJ

[Shrdlu]

Charlie has always been a great alto. Here's another album to check out: "Dear John C", by Elvin Jones. This comes across as a Mariano album, as he is the only horn and he gets a lot of solo space. Great rhythm section: Jones, Richard Davis and Roland Hanna or Hank Jones.

They should have used Charlie on some of those late 50s BN sessions with alto! There are some painfully bad alto solos at times, which mar sessions which are otherwise good.

[king ubu]

DrJ: if you like the Stu Williams Bethlehem stuff, you might want to check out the Kenton presents Cooper/Holman/Rosolino set. There's some very similar music there, almost same line ups - and I actually prefer the recordings from the Mosaic over the Bethlehems (there is one called "Mariano plays - Bethlehem Years", too). I got these (as well as the Imperial sessions) on Freshsound CDs, which are quite crappy, but at least got the music! Yes, a Mosaic collecting these Bethlehem sessions would indeed be very nice!

Back on topic: I found DEEP IN A DREAM yesterday for 6 $. Have listened to it only once yet, but Mariano has a hauntingly beautiful sound! At his age, this is very remarkable, I guess. A marvellous record by a great artist. He should have done some more straight dates in the seventies/eighties!

Shrdlu: this DEAR JOHN C sounds interesting!

And what alto solos/players are you referring to when talking of Blue Note dates?

How's the McCoy Tyner Impulse featuring Mariano and Clark Terry?

ubu

[Shrdlu]

I would definitely recommend "Dear John C", King Ubu. It's a fine album, with that intense sound that Impulse was famous for. I have not heard it on CD, and the only U.S. CD is pretty old, but it might be O.K. Of course, there will be at least one Japanese CD version, and those are great.

There are several lousy (or, at least dull) altos on BN sessions, but I'm not going to list all the details. I'm thinking particularly of the early Lee Morgan sessions, and the ones with Hank Mobley back then are not outstanding either. The only BN altos that I like are Cannonball (if you can call him a BN artist), Jackie McLean and James Spaulding, who are consistently outstanding.

[DrJ]

ubu said:

DrJ: if you like the Stu Williams Bethlehem stuff, you might want to check out the Kenton presents Cooper/Holman/Rosolino set. There's some very similar music there, almost same line ups - and I actually prefer the recordings from the Mosaic over the Bethlehems (there is one called "Mariano plays - Bethlehem Years", too).

Yep, got it on my "wish list," and since I'm going through the Mosaics by release date, that is one of the very next ones on my list!

[king ubu]

There are several lousy (or, at least dull) altos on BN sessions, but I'm not going to list all the details. I'm thinking particularly of the early Lee Morgan sessions, and the ones with Hank Mobley back then are not outstanding either. The only BN altos that I like are Cannonball (if you can call him a BN artist), Jackie McLean and James Spaulding, who are consistently outstanding.

Alright, I get pretty well an idea what you mean! and partially agree, too.

I was afraid though, you might count Spaulding among those

Glad you don't!

Coencerning McLean, I of course did not think you might also mean him - that would have been quite astounding

Will look for "Dear John C."

ubu

[White Lightning]

What a beautiful album.

I've played this album over and over, and it's a ahuntingly beautiful album.

Jim is right, it's not about the solos, it's about the way Mariano states the melodies in a most personal way. He takes the standards and completely makes them his own.

As of today Mariano is cordially added to the few who make the yardstick of presenting the standards on this CDs

To the ultimate Quebec-Clark & Chet versions of "Deep in a Dream" I've added Mariano.

To the Ultimate Chet version if "I'm a fool to want you" I've added Mariano.

[Cali]

Some other alto solos on BN that I enjoy are by:

Eric Dolphy

Ornette Coleman

Leo Wright

Lou Donaldson

Sonny Red

Gary Bartz

[mikeweil]

How's the McCoy Tyner Impulse featuring Mariano and Clark Terry?

This one disappointed me, it was a pickup band for that Newport performance, some of the five had never before played together - if you like jam session type things, it might be okay, but not your typical Tyner. His personal style shows less on this one than on all other Impulse albums, IMHO.

[king ubu]

Mike, I think I've read similar comments in a Tyner chapter in one of J.E. Behrendt's books ("Fenster aus Jazz", if memory serves me right).

Thanks!

ubu

[couw]

I agree with Mike (FWIW)

[brownie]

An absolutely superb recent Charlie Mariano album is 'Frontier Traffic' where Mariano has Al Haurand on bass and Daniel Humair on drums along. A 2002 date which was released a while back by the German label Konnex. Mariano shines all over that one. He seems to be growing younger every day! Don't think he has blown better. Will make sure to catch him live if he travels around here.

[White Lightning]

Another absolutely superb Mariano, and to my ears, very similar to "Deep in a Dream" is "Autumn Dreams" (Alfa Jazz 1991), with Mal Waldron trio which was just been reissued by "Pony Canyon" label.

tracks are:

Floating Cherry Blossoms; Greensleeves; Cry Me A River; Early Autumn; Softly, As In A Morning Sunrise; Autumn Dreams; Randy; Autumn Leaves; 'Til Autumn; The Thrill Is Gone.

[pryan]

Grabbed this at a used store today. Unfortunately the dude at the store forgot to put the disc in and I noticed only when I got home. At least I can read the liner notes. Oh well, I'll get to hear it tommorow.

[James]

Which, for me, is exactly why this music is so special - there just AREN'T too many guys like this around any more, guys who continue to grow and deepen in wisdom and feeling, and whose music does the same.

Comments, please, if you have!

Comment #1 - Based on the fair and insightful commentary we've come to expect from Jim, I'll be pursuing a listen of this recording.

Comment #2 - The qualities that Jim has described in Charlie are also evident in the work of pianist Mike Wofford. (Though he's not nearly as old as Mr. Mariano.) Forward-thinking, personalized approach characterize his work as well. His latest trio recording with Peter Washington and Victor Lewis bears evidence.

http://www.mikewofford.com

p.s. - Mike has an outside duo recording with Bert Turetzky

Edited December 20, 2004 by James

[James]

And how could I forget?! Having just heard pianist Denny Zeitlin (with Buster Williams and Matt Wilson) live I must say that IMHO he falls into this catagory as well.

[AllenLowe]

This is interesting and it brings to mind some things I thought when I first heard Ira Sullivan in person in the 1980s - this was in the middle of Marsalis's battles about the tradition vs more modern styles of playing - and I remember thinking about Sullivan - "This guys plays bebop like none of the young Lions, because he has nothing to prove - and it doesn't matter that he's 30-40 years older - he has more to say and says it more interestingly." Same with Mariano - nothing to prove, he just plays, doesn't have to show he knows changes or bebop because he's already paid those dues. And so he illustrates how that language can be kept alive and current (he's also a very nice and unassuming man, from a few conversations I had with him - which is icing on the cake) -

[sheldonm]

Charlie has always been a great alto. Here's another album to check out: "Dear John C", by Elvin Jones. This comes across as a Mariano album, as he is the only horn and he gets a lot of solo space. Great rhythm section: Jones, Richard Davis and Roland Hanna or Hank Jones.

They should have used Charlie on some of those late 50s BN sessions with alto! There are some painfully bad alto solos at times, which mar sessions which are otherwise good.