Jazz at the Movies: The Big Boss

The Big Boss
Peter Thomas
Chris' Soundtrack Corner/All Score

After years of toiling in TV (The Green Hornet) and movies (Marlowe) as a kung fu novelty act, Bruce Lee starred in his first true chop-socky feature film, The Big Boss (aka Fists of Fury, '71; confusingly enough, Lee's next movie, made in 1972, also is known as "Fists of Fury").

Within a couple of years Lee catapulted to superstardom in Enter the Dragon ('73), featuring a classic jazz-funk score by Lalo Schifrin. After Lee's tragic death in '73, Game of Death was completed without him and released in '78, featuring a Bondian orchestral score by John Barry. Both of those movie soundtracks appeared on LP at the time of their theatrical releases and subsequently reissued on CD several times.

So, it comes as some surprise that it took so long for Peter Thomas' brassy, bustling soundtrack for The Big Boss to receive a CD release in the west (there was a limited edition Japanese CD release in 1991, and an exclusive iTunes download a few years ago). It's surprising, not just because of Bruce Lee's collectability, but also because of the resurgent interest in Thomas' cult soundtrack reissues during the past 15 years. In essence, The Big Boss has been something of a holy grail for collectors of the composer's quirky music.

The work Thomas was doing around the time of The Big Boss included his off-the-wall big band jazz scores for various Edgar Wallace thrillers, German sex-ed films and the paranormal documentary Chariots of the Gods — all of which have been available on CD in recent years.

So, what's the story? How did a German composer get to score a Hong Kong movie production? Basically, when a German film distributor bought the rights to release Tang Shan Da Xiong (the original title), they felt that it needed a soundtrack that would be easier on western ears than the one provided by the original composer, Fu-ling Wang, which was traditional Chinese music. Enter Peter Thomas, who — given a limited budget — crafted a score that was half new compositions and half back-catalogue library cues.

Stylistically, Thomas' jazz-rock score for The Big Boss is an off-kilter, psychedelic blend of vamping brass, trilling flutes, chiming "oriental" percussion, tinkling piano, blazing electric guitar, gurgling Moog synthesizers, rumbling rhythms and outlandish studio effects.

Naturally, anyone who knows Thomas' other work will want it, and anyone who wants to discover one of the most distinctive and eccentric jazz-based film composers in his prime should check it out. I should note that the sound quality of the CD is excellent, and that the clip below is obviously taken from an inferior sound source.

The Intersection: Brandt Brauer Frick

Inventive German electronica trio Brandt Brauer Frick's new album You Make Me Real (on !K7 Records) is headphone music par excellence.
Dan Brandt, Jan Brauer and Paul Frick's music blends the unexpected timbres of John Cage and intricate arrangements of Steve Reich with the kinetic energy of Kraftwerk and playful swing of Raymond Scott in "Powerhouse" mode. BBF's hypnotic beats bounce around in your cranium like they want to break out. By the end of the opener, "Corky Prelude," you'll want the band to take up residency in your dome.
How do they do it? With live drums, treated pianos, trombones, harp, marimba and a host of other treated live sounds — that's how. The organic nature of these sounds allows them to take root in your ears quickly, especially after consuming a double espresso like I did!
Click on tracks to listen to excerpts.

01. Corky Prelude
02. Bop
03. Paparazzi
04. Caffeine
05. Mi Corazon
06. Heart Of Stone
07. R. W. John
08. You Make Me Real
09. Teufelsleiter
BBF play at Barfly in London, 12/17. If you can't make it, visit them here.

Scorch Trio

Scroch Trio (group; formed 1998)
Melaza (Rune Grammofon; 2010)

Raoul Björkenheim (guitar)
Ingebrigt Håker Flaten (bass)
Frank Rosaly (drums)

Helsinki based, Scorch Trio have been active for over a decade now. All three members are successful musicians with various other bands and solo projects (most notably The Thing and Atomic). But Scorch Trio is no "jazz supergroup". This is a unit that functions flair and an intent on pulling at the boundaries of jazz.

Originally the group started with Paal Nilssen-Love on drums. He has recently left the band to continue his other projects. The even more versatile Chicago native, Frank Rosaly (who has preformed with Ken Vandermark, Jeb Bishop, Josh Berman and Keefe Jackson among others) settles into the kit chair for now. And the result are quite interesting for me especially.

I have to admit, I own all four Scorch Trio albums, but I haven't been totally convinced--that is--until today. I'm definitely not saying the previous records lacked anything. I think I wasn't hearing what I was supposed to hear (if that makes sense). With the their new album Melaza (Rune Grammofon), this trio has created a document with solid compositional structure that moves like a great rock/jazz album. Like Bill Laswell's Last Exit fused with Tony William's Lifetime and Mahavishnu, Melaza has really blown me away.

The title track "Melaza" really spells things out. It's a pounding bit of fusion that has all the elements you would want--swirling McLaughlin-esque guitar, deep wrenching bass lines and pulsating timing on drums. This is three minutes of bliss jazz rock bliss. "Fajao" is another stunner that truly how well Rosaly has integrated into the band. The interchanges between Rosaly and Björkenheim here are absolutely fantastic. "Raitru" displays the more improvisational and intimate side of the trio. Midtempo patterns with some nice individual colour expressed by the band members.

Melaza isn't going to be for everyone, but if you are fan of the above mentioned influences and especially if you are a fan of some of free jazz and eclectic releases from the venerable Rune Grammofon label, Scorch Trio is well worth investigating. This is bright, fun, electrifying stuff that's will turn your ear (possibly upside down).

Now I have to go back and sit with the previous three records and see where my ears went wrong. Talk to you all later. Enjoy...

This video is of the original lineup with Nilssen-Love on drums.

Celebrating Dave Brubeck

Dave Brubeck (piano; b. 1920)

The Definitive Dave Brubeck (Concord Records; 2010)
Legacy Of A Legend (Columbia/Legacy Recordings; 2010)

For many, Dave Brubeck may only be known for his iconic and landmark album, Time Out--definitely one of the most important jazz albums in history. But there is so much more to Dave Brubeck that you need to hear, see and know. Two new compilations and a documentary by Clint Eastwood chronicle this living legend as he celebrates his 90th birthday. Trust me he doesn't look 90 or even play like he's 90.

This former veterinarian student turned jazz legend began penning material as a young college student. A style that is both swinging, upbeat, hard bop and classically proficient has captivated audiences since his first recordings in 1948. His is one of the few jazz musicians to appear on the cover Time magazine (a huge deal back in the day). His "everyman" clean-crisp performing was a major hit among college students and has continued to appeal to masses of all ages today. He is not to be missed if he comes to your town.

There are outstanding individual albums that you should pick up if you really want to get a good vibe on Dave Brubeck. But if you are interested in the basics and in today's economy this is the norm, I would highly recommend the two recently released compilations. Together they both cover the significant moments of Dave Brubeck's career. And from the economic standpoint it won't set up back a lot of money either.

The Definitive Dave Brubeck (Concord Recordings) cover two separate periods ('42 - '53) and ('82 - '04). Yes, there's a big gap there but I'll get to it in a moment. The material on The Definitive Dave Brubeck documents the "artists as a young man", mainly for the Fantasy Records label, now owned by Concord Music. Brubeck is exploring mostly standards in the first two decades but it was the manner in which he and his group performed them that made his group a successful tour outfit.

In their hands standards like "This Can't Be Love," "That Old Black Magic," "The Way You Look Tonight" and "All The Things You Are" were transformed into majestic beauty while other jazz musicians were playing it safe or working on deconstructing meters. This isn't to say Brubeck accessible or palatable. He was making this standards technically brilliant in a way that left listeners awe struck.

Leap forward a few decades and Brubeck is now the elder statesmen of jazz piano. His recordings during this period span two labels (Concord and Telarc). The last three decades has seen Brubeck composing symphonic material as well as his own material mixed in with delightful standard repertoire (of which now many of his material has become e.g. "Blue Rondo a la Turk" and "Take Five").

This era finds Brubeck in continued fine form if not better. New renditions of material such as "Koto Song," "Forty Days" and "Waltzing" and the albums during this period show a composer and performer with sheer confidence and aggressively pushing his themes forward and challenging his musicians to follow. Right now Brubeck is probably at his best. At 90!

The aptly titled Legacy Of A Legend (Columbia/Legacy Recordings) spans the most well known period of Brubeck career 1954 - 1970. This is the time period Brubeck writing and performances exploded. For jazz fans it is the era of arguably the greatest quartet, Paul Desmond (sax), Eugene Wright (bass) and Joe Morello (drums) that produced the landmark Time Out album.

While tracks from that album are highlight on Legacy Of A Legend, it is the other material that I would ask you pay more attention to. "Take A Chance On Love," " "Evenin'" with the legendary vocalist Jimmy Rushing, "Out Of Nowhere" with Gerry Mulligan and countless other tracks in this collection solidify this excellence as a musician and composer. There is also a great live version of "Mr. Broadway" from the legendary concert album Buried Treasures recorded in Mexico during the Classic Quartet's final tour.

The tracks on Legacy Of A Legend were personally chosen by Brubeck. It makes for interesting listening to see how the artist perceives his work. But this isn't an experiment is self-indulgence. This is moment for you the listener to hear an artist in prime and prolific form. A great overview indeed.

The documentary, Dave Brubeck: In His Own Sweet Way airs in the US and possibly the rest of the world starting December 6th, Brubeck's birthday, and should not be missed. Dave Brubeck is the quintessential jazz artists that if you are going to own only a few jazz records--you must own something by Brubeck. While I've said in here and in the past, the individual albums are a must--but if you have to you can't go wrong with both of these collection. They are great primers and offer a huge window into one of the greatest legends of jazz. Happy Birthday Dave!

A New Vision Of Chicago: Josh Berman

Josh Berman (cornet; b. 1972)
Old Idea (Delmark Records)

Keefe Jackson (sax)
Jason Adasiewicz (vibes)
Anton Hatwich (bass)
Nori Tanaka (drums)

(photo: Jim Newberry)

Surprisingly, this is cornetist Josh Berman's debut album. But Old Idea (Delmark) shows a lot of strength from an artist who really is a veteran player on the Chicago scene. Josh Berman's resume is deep; with solid Chicago credentials that include Lucky 7s, Umbrella Music collective, Luzern Exchange, Exploding Star Orchestra, Fast Citizens and Rolldown (led by Jason Adasiewicz). So he has been around the block and in the circuit long enough. A first album really shouldn't be a surprise. Neither should it surprise anyone how fantastic Old Idea truly sounds.

On first spin Old Idea could sound like many of the other free jazz brass ensembles that have come out of Chicago in the last decade. Many emulating the power and creativity of the revered Ken Vandermark/Vandermark 5. But after closer inspection you realize that all of them stand apart quite nicely. And this quintet stand up forcefully well, all led on strength and direction of Berman.

Fueled by multiple inspirations ranging from the fellow Chicago native, Brad Goode, the late Bill Dixon, Miles Davis and Dave Douglas, Berman has created his own lyrical style which is both inventive as it is sensitive. His band has played together in various forms in the aforementioned bands since around 2001.

The beauty interplay throughout this group is phenomenal. On the opener "On Account Of A Hat" you can hear the mixture of improvisation, creativity and sensuality in the playing as each member slowly comes into the performance. Starting with Jackson and Berman on horns, Adasiewicz with Hatwich gently nimbling his way and resulting in Tanaka on drums mixing it up with Adasiewicz until Jackson and Berman come counterpointing back.

What sets Berman's Old Idea apart is the free sparse arrangements he written for this group. While it is definitely based in the Chicago Free Jazz tradition, it definitely utilizes the aspects of space and breath for the listener to jump in and absorb. On "Let's Pretend", one of my favourite new Chicago performers Keefe Jackson, delivers some near perfect phrasing that is muscular but delicate. Delivered in a Rollins-like model, Jackson moves the material along as Adasiewicz adds the spacey earth-tone elements to proceeding. As the piece strays into "Out There" territory, Berman turns in a veracious yet cerebral performance that sort of tells you all you need to know---this cat is bold, serious and highly engaging.

The ballad "Almost Late" is a lovely piece led by Adasiewicz's moody Dave Pike meets Bobby Hutcherson momentum with swathes of rhythmic beauty from both Tanaka and Hatwich with Berman and Jackson combining to add some lush overtones. "Almost Late" is a exquisite piece of writing that had me coming back to this track over and over.

There are three short pieces entitled "New Year (A, B and C)" spread across the session that demonstrate the duo and collabrative efforts of the members within Berman's material. While the three pieces are different, they definitely show top-notch musicianship of the players. Particularly New Year C in which the full band add elements of space, colour and subtle improvisation that make it an absolutely beautiful way to close out a great recording.

Overall, Old Idea is an album highlighted by veteran performers with a leader in Josh Berman who's absorbed a lot over the last decade and it's finally made its way into the studio. This is an awesome debut if you want to call it that. Chicago has a rich tradition of Free Jazz artists. It's sometimes very hard to know where to start; I think Josh Berman is a great, creative and accessible way to dig your ears in for a taste of an artist with true vision for the future. I hope that he continues to strike out on his own in addition to the performances with his collective in Chicago.

Sex Mob

Slide trumpet madman Steven Bernstein's New York-based outfit Sex Mob (with Briggan Krauss on alto sax, Tony Scherr on bass and Kenny Wollesen on drums) isn't your father's jazz group. The Knitting Factory regulars specialize in a subversive brand of acid jazz with pop cult references ranging from New Orleans swing to spy soundtracks, from bachelor pad exotica to rock acts as disparate as Prince and Nirvana.

Simply put by Bernstein himself: "Jazz used to be popular music. People would go out to clubs, listen to the music, go home, and get laid. Simple as that. We're bringing that spirit back."

Thanks in part of its raucous live shows, Sex Mob has done just that over the course of a decade, during which they've released six albums, starting with the aptly named Din of Inequity ('98), followed by Solid Sender ('00), Sex Mob Does Bond ('01), Dime Grind Palace ('03), Sexotica ('06), Sex Mob Meets Medeski: Live in Willisau ('09).

On record, Sex Mob cooks up a seedy, sleazy, sordid vibe of drunken depravity — and that's what's great about it! The sound of Sex Mob is slightly unhinged, as if the musicians have escaped from an insane asylum, only to join a kinky carnival. Don't get me wrong though — there's sense to the insensibility. Taken out of context (as when your iPod shuffles to random tracks like "Call to the Freaks" and "Pygmy Suite") Sex Mob can disrupt your train of thought like the sudden appearance of a drag queen at GOP fundraiser. But taken in its natural element — the dedicated listen – Sex Mob will free you from your pedestrian notions of socially acceptable behavior. Our advice: Listen to Sex Mob and let your freak flag wave.

Dan Block: Rethinking Ellington

Dan Block (sax, clarinet)
Plays Duke Ellington: From His World To Mine (Miles High Records; 2010)

Dan Block is a highly respected reed player with a list of significant creditenials that should have more jazz fans standing up and taking notice. Of the many records we've reviewed this year, From His World To Mine (Miles High Records), is one that should have universal appeal to jazz new comers and jazz stalwarts alike.

Here at jazzmusic24 we've usually titled to more avant garde/free jazz, world and ambient, but I try to make a point when a record comes along that is so rich in tradition that you just have to spread the news. Dan Block has done just that with his new album. And I think you all need to know about.

Dan Block came out of the St. Louis jazz and blues tradition. He has performed or recorded with such legends as Charles Mingus, Frank Wess, Marty Grosz, Clark Terry, Rosemary Clooney and Maria Schneider to name a lot! He has also done his share of work in TV, Film and Broadway.

His style and arrangements are more for large ensembles but he creates an atmosphere that's more bebop small group that large scale big band. His previous release, Almost Modern (Sackville; 2006) which I thought finally captured the essence of Block ability has now been fully expanded and gone beyond sounding retro-big band. Dan Block is so much more than that. With From His World To Mine, Block has created a solid album of hard bop infused with the rich energy of Ellington or Goodman's big bands.

This homage to the Duke is a wonderful experience for those unfamiliar with Duke Ellington's material. Dan Block has kept the feeling of the numbers but has added a ting of his own buoyant personality on both sax and clarinet as evident on rolling and infectious opener, "Kissing Bug" (a Billy Strayhorn penned piece) which adds a dash of Latin flavour. This was a number which originally had some nice jumping vocals but is transformed by the Block's arrangement into something familiar but still original. Block's performance is crisp and bold with excellent accompaniment from Mike Kanan (piano), Brian Grice (drums) and Renato Thoms (percussion). This is a sextet piece that sounds like quartet. How can that be!?!

"Old King Dooji" is a small group number with Block starting off on clarinet and features some fierce performances from Grice again along with perfect pattern sculpting from Kanna and Lee Hudson gently on the bass. Nice stuff.

Elsewhere, Block shows the emotional beauty of Ellington with his arrangement of "Creole Blues". The arrangements are not that dissimilar. The blues tempo remains, but its the depth of Blocks performance on sax that really transforms the piece into something with deeper introspection and range. This introspection is also apart of "New York City Blues" where Block's sax and Mark Sherman's vibes dominate but don't upset the sentimental structure of the oriiginal tune.

"Mt. Harrissa" is another moment in which the emotional depth of the band is really prominent. The interplay of Grice, Kanan and now Mark Sherman (vibes) and gentle melody of James Chirillo (guitar) with some majestic playing by Block floating overhead, you will find yourself top-tapping away.

Duke Ellington's material is vast and stretches across different arranging structures. What Dan Block has done with From His World To Mine---by choosing mostly under-rated pieces from the Ellington canon is provide a vehicle that not only delivers a solid enjoyment of originality--it also demonstrates that you can look back to your elders and be inspired to create something familiar but yet highly effective for this new generation of modern jazz listeners. Highly Recommended.