When people say ‘I hate jazz’, I sometimes wonder if they’re really saying they know a crap composition when they hear one.
Legions of talented jazz sidepeople have been given solo record contracts only to deliver music that proves they can’t write decent tunes.
A case in point is saxophonist and William Hurt-lookalike Bill Evans. He’s had a very solid career but his solo work is distinctly underwhelming.(And then there’s the name. If you play jazz, you probably need a stage name if you have exactly the same moniker as a bona fide legend from decades gone by – the pianist Bill Evans died in 1980.)
But give Sax Bill some credit – he was an absolutely vital figure in Miles Davis’s 1980s comeback. He became a good friend and carer of the trumpeter and played several gritty solos on record (Star People is a good place to start), but by 1983 found himself inexplicably frozen out, barely getting any solo space from Miles.
He got the message and jumped ship to join John McLaughlin in the new Mahavishnu Orchestra and also embark on a solo career which kicked off with 1984’s Living In The Crest Of A Wave, a pretty anodyne collection of new-agey fusion. Let’s call it The Metheny Effect. Many tried and failed to ape that guitarist’s mixture of Ornette Coleman-inspired melodicism, Latin flavours and down-home, Midwestern, open-sky simplicity.
With its folky themes, puny production, emphasis on soprano sax, fretless bass, ride cymbals and an ‘environmental’ bent, LITCOAW could almost have come out on Windham Hill. Only the closing title track works up any kind of energy or interest, when Evans finally busts out the tenor and blows up a storm over Adam Nussbaum’s frenetic jazz/rock groove.
Evans’ followup, 1985’s The Alternative Man, was his first record for the illustrious Blue Note Records and as such should have been a celebration. Unfortunately it was just the kind of ‘80s ‘jazz’ album that illustrates what a brilliant job Marcus Miller did on Miles’s Tutu, an object lesson in how not to use technology if you’re an electric jazzer.
Evans in the main stumbles around with ugly Linn Drum patterns, electric drums, blaring synth pads and raucous hair-metal guitar solos, all topped off with some fairly insipid soprano playing. A few tracks and you’ll be wanting to break out the Albert Ayler or David Murray albums, and fast.
The only interest predictably comes with two more open, organic offerings, the excellent ‘Miles Away’ which reunites Evans with his Miles colleagues Al Foster on drums and Miller on bass. And ’Let The Juice Loose’ is fun, a cool bebop head featuring some enjoyably un-PC Strat-mangling from the late great Hiram Bullock.
But hey – some of this music brings back good memories, when I was digging around the Record And Tape Exchange and Our Price for bargains and closely monitoring the personnel on the back of my favourite Miles and McLaughlin albums. These albums also definitely represent a weird time for ’80s jazz, when established labels were signing all and sundry, fishing around for the next Young Lion or Metheny. And thankfully a few dodgy early solo records didn’t hurt Evans’ career much, as he’s gone on to be one of the most respected players on the scene.