As a producer I see my role as being a facilitator. Having in my past been directly involved in some specific artistic disciplines, I know that when artistry is ready to give birth, it will make itself known; everything has its season. The genesis of this session came when we were recording Marshall (b. Louisville, KY, 1924) as a featured part of Tyrone Hill’s Quartet (CIMP 154). Listening to Marshall, it seemed natural to pair him with Mark Whitecage (b. Litchfield, CT, 1937). The idea was discussed and it was decided to use Dominic Duval (b. New York City, NY, 1944) on bass, he and Mark having collaborated on a number of CIMP sessions (# 106, 119, 141, 149, 155, 162, and 173), and I know from experience that he can be a tremendous catalyst for creativity. Luqman Ali (Starkville, MS, 1943) was Marshall’s choice, having worked with Marshall in the Sun Ra band since the Chicago days in 1960. And so the group was set.
This was a notable occasion. To begin with, after a half century in music, this is Marshall’s first recording as leader, though perhaps “guider of a very cooperative quartet” would be more accurate. This is also an interesting and uncommon mix of players who, on their own, probably would never have gotten into this exchange and yet, even with their diversity of backgrounds, show how much coincidental artistic temperament they have. And so, while the season of this creation was induced by me and was never before and may never be again, it made good use of what otherwise would have been silence (and it is not always easy to improve on silence). But most of all, for me, this set is fun. It has, as would be expected in an unrehearsed gathering, its ragged edges. Creativity is not, and never has been, about perfection. Perfection is for the commercialization of creativity. Creativity is about expression and ideas. And it’s interesting to hear these individuals out of their usual surroundings and yet very much in their element. As a result, in many ways you can hear more clearly their essences and individualities: the musical personalities, approaches, and strategies are in much clearer relief.
After enjoying a dinner together, this group got together musically for the first time around 9 p.m. Monday, March 16. They assembled in The Spirit Room, did a sound check, regrouped, Dominic walked it off and Mr. Whitecage, Meet Mr. Allen was born.
Mark suggested Out of Nowhere and turned to Marshall, “Know it?” Marshall responded laughingly, “If I don’t know it, I’ll play it anyway.” Mark glided into the theme, Marshall took a minute to find his footing and soon the quartet was out of nowhere and into something. About 8 minutes into the piece, Luqman got possessed by some riff and forced the music past what seemed to be the wind-down and into a brief regrouping before the quartet brought things to a conclusion.
When You Wish Upon A Star was Marshall’s idea. Mark went period with a wide vibrato. Dominic grounded the piece in counterpoint to Luqman’s rhythm. After 9 minutes the piece came to a rolling stop when Dominic’s muse went elsewhere and first Mark, then Luqman, then Marshall joined the chase in a tumbling tag for Star Wishing.
Fly Me To the Moon resulted after a brief meeting between Dominic and Marshall. Mark gave a lead sheet to Marshall remarking, “Here, I’ve played more weddings than you.” A quick run-through, a false start and they were off. Marshall may have been flying to the moon, but Saturn was in the cards.
Albatross was Mark’s lead. One never knows where something will lead and what those who follow will do and the joy they will bring.
Seven and a Half Steps was built off the “Seven Steps to Heaven” rhythm which Dominic had been toying with and to which Marshall said we’re going to make another half step. At first it proved to be an elusive step but once a footing was found they ran it without fear.
Yesterday’s Flowers was Marshall’s direction and inspired the lyrical in Mark.
Well, You Needn’t initially evolved out of playing around with a number of Ellington tunes. All of a sudden Mark jumped into “Well, You Needn’t,” Luqman picked up the cue immediately, the quartet ran through the head, and things were set. Visual arrangements shaped the piece, which brought new life to this Monk classic. By now Monday had passed well into Tuesday and the session ended.
The next morning over breakfast we reflected upon the previous night’s work and, when the group gathered in The Spirit Room, the structure for Opus Springtime was worked out and eventually executed in full to open the morning’s music.
“Autumn in New York” was next suggested by Dominic, investigated, and dropped in favor of Mark’s Something About J.C. Mark even produced a lead sheet for this Coltrane tribute. Note Mark’s reference to “Autumn in New York.”
Following this, we got into a brief discussion of freedom: personal and musical and Ellington’s composition of that name. The perhaps inevitable outcome was Dominic’s leading off Duval Calling, which turned out to be an exhausting outing of spontaneous music.
East of South was developed off a line Mark and Luqman had worked out and, after what seemed to me a bit of aimlessness, eventually turned out to be a most enjoyable journey.
With Funny Valentine, a rather funky Valentine, I sensed that this gathering was coming to its natural wind-down or conclusion. Dominic and Luqman worked out the approach, and Mark molded its form with some wonderfully emotive playing.
Immediately following this, Marshall led the proceedings to a rousing end on Altobatics. And it was a natural ending. These moments had now had their season.
There are so many angles to approach this encounter from, be it its individual personalities and approaches, the music’s development over 2 days, or just the music making results. Make of it what you will but don’t overlook just enjoying it as it gives and gives and gives. Thank you Marshall, Mark, Luqman, and Dominic.
Robert D. Rusch - 3/16/98
