Monty Waters: The Black Cat

I first heard alto saxist Monty Waters on the Joe lee Wilson and Bond Street album, What Would It be Without You. I love Joe Lee Wilson (and have blogged about his music) and liked what I heard of Waters, but I could never find much music by him. It turns out that he spent  a good many years of his later career in Munich, where he did record, but he never got much of a shot in the U.S. Like many practitioners of America’s greatest gift to world culture, he’s been neglected in his own country. Fortunately, he was recorded in 1975 by the Japanese WhyNot label, now re-released on CD by Candid Records.

The Black Cat is an excellent date, featuring Waters, guitarist Yoshihaki Masuo, bassist Ronnie Boykins, and drummer George Avaloz. Waters also composed all of the tunes. They’re really equal partners here, notably on J. Love March, a slightly eccentric jazz march with a good deal of collective improvisation. Waters has a lot of Ornette Coleman in his playing, particularly notable on the two blues tracks—Bog’s Blues and Modesto—but tempered with a more disciplined Steve Lacy-like tone.  It’s a strong combination. Apt. #2H, a reworking of Giant Steps, the title track, and R.P.M. all serve as vehicles for Waters, an impressively melodic Masuo, and standout solo work by Boykins (I have his ESP date somewhere and need to dig it out).

The Black Cat is available here as well as from Candid (I’m not getting any money from these plugs, folks, just encouraging you to support this music with some of your cash). I couldn’t find anything from the album on YouTube, but here’s something from Monty’s later years that should give you a taste, although a bit less “out” than this recording. He was a beautiful player.

Back at It

It’s been quite a while since I’ve done anything with this blog – press of time, other obligations, blah, blah, blah. I have been thinking about it, though. Up to now, I haven’t articulated a theme or governing principle to guide me (and you) as to exactly what I’m trying to do. I think I’ve zeroed in on that. I’m interested in keeping the memory of unsung musicians, authors, and events alive in a time where the overwhelming glut of information via the Internet, the concomitant apparent dumbing down of the media, and an accompanying publicity barrage for the worst (whose PR people are full of passionate, lucre-driven intensity). Okay, I do have a fondness for the obscure over the mainstream, but the mainstream seems pretty capable of taking care of itself, so why not? “Obscure” doesn’t mean untalented, unimportant, or ridiculous – anyway, it’s my blog and I’ll cry if I want to.

A relaunch demands a new name, so I’ve selected Lift the Bandstand! When Steve Lacy, the great soprano saxophonist, was gigging with Thelonious Monk, he jotted down Monk’s various utterances about music and life. “Lift the bandstand!” was his advice to Lacy and other musicians, and it seems to work for all kinds of other human efforts, so Lift the Bandstand! it is. I've also added a new look to go along with the new name.
To kick things off, here’s part of a performance by Lacy that really takes Monk’s advice to heart. The music is exciting and passionate, stemming from the jazz tradition and building from it. Lacy’s music is free but structured – he never abandons the music’s roots, even at his most abstract. Note: A lot of people don’t care for Irene Aebi’s vocals, but this one, at least, fits in seamlessly.

If you like where I’m going with the blog, or even if you don’t, please comment!