Marc Johnson’s Bass Desires: Second Sight

marc johnson

Since 1987, there have been a number of two-guitar celebrity summits but ex-Bill Evans bassist Marc Johnson’s superb ECM solo albums, ’85’s Bass Desires and Second Sight, both featuring John Scofield and Bill Frisell, quite possibly started off the whole trend.

1987’s Second Sight was considered somewhat of a disappointment on its original release, but for me this is the superior album of the two. I was a major Scofield fan when I bought it in ’87 but didn’t know Frisell’s name at all. Some of the interplay between the two is nothing less than miraculous, although one could hardly think of two more different guitarists in approach.

They leave each other space to play and at times even inadvertently double parts. The ever-reliable Peter Erskine slightly overplayed on the first Bass Desires album but here expertly marshals the material without ever being overbearing, and the compositions are so fresh, memorable and catchy.

Only the opening ‘Crossing The Corpus Callosum’ sounds like a studio jam session, but this is no ordinary jam; Scofield’s emotive bluesy cries dissolve into a fantastically-eerie Frisell ambient soundscape, leading the track inexplicably into David Lynch territory. ‘Small Hands’ and ‘Hymn For Her’ are shimmering, moving ballads, with the guitarists’ approaches meshing beautifully. ‘Sweet Soul’ is a soulful slow swinger full of fantastic Scofield soloing.

‘1951’ is a superb Frisell composition evoking Thelonious Monk’s best work. ‘Thrill Seekers’ simply swings like hell and features a classic Frisell fuzzbox solo. ‘Twister’ is great fun, Scofield’s affectionate ode to surf rock with some very funky bass and guitar interplay and a short drum solo almost as memorable as Ringo’s on Abbey Road.

As far as I know, the band toured Europe but never the UK. Would love to have seen them. The performance below is really special. No wonder Frisell is grinning like a Cheshire cat throughout.

Lyle Mays: Street Dreams

lyle maysI was a fan of most things jazz/rock as a teenager, scuttling off to HMV or Virgin in central London to buy the latest John McLaughlin, Mike Stern, Steps Ahead, John Scofield, Bireli Lagrene or Miles.

Whilst Pat Metheny was never a favourite, I dug American Garage and 80/81, and always had a soft spot for Lyle Mays’ keyboard playing. His 1987 debut album featured a fantastic band (Bill Frisell, Marc Johnson, Billy Drewes, Alex Acuna and Nana Vasconcelos) and promised a lot for the future.

1988’s Street Dreams didn’t disappoint. It is to some extent a big-budget ‘vanity project’, full of guest appearances and experiments, but it’s all the better for that and virtually impossible to categorise. Recorded exclusively at the Power Station in New York, Street Dreams has the range and ambition of some key pop albums of the era. It also for the most part avoids the new-age sentimentality that Metheny is sometimes prone to.

Street Dreams was a real Walkman album, creating a movie in one’s mind. To this day, I seldom listen to a tune in separation; I have to check out the whole thing in one sitting. ‘Feet First’ sounds like an outtake from Donald Fagen’s Nightfly with the vocals taken off (and features some classic Steve Gadd); ‘August’ and ‘Hangtime’ are superb tone poems featuring tasteful work from Frisell, Johnson and Peter Erskine.

‘Before You Go’ is space-age muzak with sprawling orchestrations out of the Claus Ogerman book, and ‘Possible Straight’ is cracking big-band jazz with some great drumming by Steve Jordan.

The title track is just bonkers and has to be heard to be believed. It takes in elements of prog rock, minimalism (with its Reich-influenced marimba), New Age textures and a playful, Hermeto Pascoal-style Latin workout with Mays’ piano at its most Keith Jarrett-like.

Compared to the sterility of most major-label jazz releases these days, Street Dreams still sounds pretty fresh, even if it is a touch lighter than what passes for jazz/rock in 2015.