This is the tune that Fela identified as his first truly African composition. While that might be debatable – highlife is African, for sure – it really does represent a change to the Afrobeat style that Fela stuck to for the remainder of his career. This tune has no lyrics, but the same modal structure and bottom-heavy horn section that characterizes his music are definitely in play here. A-fro-BEAT!!
This is some deep blues couched in some very sophisticated forms and counterpoint lines. The bari sax, in particular, cries while the low brass moans through their mutes and the rhythm section churns underneath. I would love to see the scores for this album, especially the first tune. I’d like to see how the bitonal moments are scored out. The counterpoint is at times so dense it feels improvised, but several horns playing the same polyphonic lines? Genius, really – Mingus is able to compose lines that sound like improvisation.
This is such a beautiful ballad, and Coltrane wrings all of the pretty emotional content out of it. Even a couple of choruses into his solo you can still hear the melody within his trademark “sheets of sound” aesthetic. I’ve recently been learning a chord-solo version of this tune that hits on a lot of Coltrane’s melodic sense of the tune. What I would like to do at some points is to cop some ideas from Coltrane, especially the melodic minor and whole tone sounds he uses to such beautiful effect. Such a great recording
The duet starts at c.27:19 in this video, but the previous part is all solo guitar. Joe Pass was an undisputed master of fingerstyle solo guitar, and his accompaniment with Fitzgerald is extremely tasty. And of course, Fitzgerald’s voice is clearly the voice of love. This is a spectacular duo.