Van Morrison Latest Record Project Volume 1 2021

I read the early, mostly negative reviews, and I was admittedly taken aback. I'm a huge Van Morrison fan, and I've been pretty amazed and impressed with most of his work in the last 20 years. The five (five!!) albums he released between 2017 and 2019 (Roll With The Punches, Versatile, You're Driving Me Crazy, The Profit Speaks, and Three Chords And The Truth) were all above average at least, and represent a remarkably strong period.

So, here's the good news: Van Morrison can still write a good melody, or borrow a good blues riff and make it his own. He's been doing both forever, and while a lot of them sound the same, he's a talented songwriter. The band on this record is highly talented and the recording sounds good. Whoever is playing the Hammond B3 is especially skilled. The backup singers are rather forward in the mix on many songs, and they sound great. 

But here's the rub: The best way to thoroughly enjoy this record is to not understand the English language. Lyrically, Van is very upset about a lot of things these days. His wife of 25-plus years left in 2018, and he's still a mess about that, and not in just a sad way, but clearly dealing with some anger issues. He's mad at the music business. And the media in general. And psychiatrists. And Facebook. And Covid restrictions. Additionally, he thinks everyone that doesn't love him, and maybe those that do love him and thus emulate his work, are all just jealous of his enormous talent. Finally on his list of complaints, is the fact that he is the only authentic rebel left. 

And (I know, how could there be more?), Van seems to think that the music he's making now sounds so different that people don't get it, and they should realize that he's progressing and get over it. Trust me, the only thing really new about this record is how totally bat-shit crazy Van Morrison sounds when words come out of his mouth.

There's been one or two of those angry songs on many of his records over the last 30 years or so. But this one has, by my count, something like 19 of them. Holy crap, there's 28 songs on the 2-CD set, and two thirds are him whining and complaining and being paranoid. And this is only Volume 1?

With brutal editing, this could have been a pretty good single disc release. At over two hours long, it is a disaster.

Jazz from the 1950s and 1960s

I'm a melody kind of guy. Raised on pop and rock with some folk mixed in, music fits me better when I can hum or whistle along. So the jazz I most like is the cool jazz and West Coast jazz of the fifties and sixties that lived in the same moment as the bebop and hard bop that I find overly aggressive and challenging. I understand that those hard boppers are highly talented and wildly creative, but they are clearly not mellow, and I like my jazz mellow. So here are a few of my favorites, in no particular order (well, actually alphabetically).

Kenny Burrell's Midnight Blue 1967 is classic blues/jazz at it's best. Burrell fronts a great band, including Stanley Turrentine, and everything comes out perfect.

Nat "King" Cole's After Midnight 1957. Before becoming a pop crooner singing with an orchestra, Cole was a pianist who led a jazz trio, and was widely considered one of the best. In 1957 Cole returned to his roots for the last time, and recorded this amazing session. If you never knew Cole as a jazz pianist, this is the place to start. The trio, supplemented by percussion, and horn (and violin) soloists, swings like crazy, and Cole's singing and piano are both stellar.

I can add nothing to the discussion of this great record. Sunday At The Village Vanguard 1961 is everything it is touted to be, and deserves the hype today as much as it did on it's release. Both Sunday At The Village Vanguard and Waltz For Debbie 1961, recorded at the same session, have been in print and available for purchase since their release. The pinnacle of the piano trio, with Scott LaFaro on bass and Paul Motian on drums, the three operated almost as one mind with six hands. You can just sit and enjoy it, or you can study it to death, either way, it holds up.

The Chico Hamilton Quintet featuring Buddy Collette 1956 is a fascinating West Coast jazz ensemble. Drummer Hamilton is joined by sax/flute/clarinetist Collette plus bass, cello, and guitar. It is an unusual ensemble, and they are spectacular. 

At The Pershing: But Not For Me 1958 was one of the biggest hits of it's time, staying on the charts for 108 weeks. It includes Jamal's first version of Poinciana, and it is a delightful record. Swinging and easy to love. 

Sinatra'a In The Wee Small Hours 1955 might be the very first concept album, and Sinatra would return to themed records several more times in the 50s and 60s. Great songs, Nelson Riddle's arrangements, and Sinatra at the peak of his understated power, it is one of Sinatra's finest.