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🎷 AotW: CTI Joe Farrell: Joe Farrell Quartet / Song of the Wind / Super Session (CTI Records CTI 6003/CTI 6067)

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1673457204667.pngJoe Farrell: Joe Farrell Quartet
Also released as: Super Session (Germany)

CTI Records CTI 6003
Released 1970

Reissued as:
Song of the Wind

CTI Records 6067
Reissued 1976
  • A1: Follow Your Heart /6:50
  • A2: Collage For Polly /2:30
  • A3: Circle In The Square /7:05
  • B1: Molten Glass /5:00
  • B2: Alter Ego /1:20
  • B3: Song Of The Wind /5:50
  • B4: Motion /5:10
1673457363659.pngBass – Dave Holland
Design – Sam Antupit
Drums – Jack DeJohnette
Engineer – Rudy Van Gelder
Guitar – John McLaughlin
Photography By [Cover] – Pete Turner
Photography By [Liner] – Robert Brosan
Piano – Chick Corea
Producer – Creed Taylor
Soprano Saxophone, Tenor Saxophone, Flute, Oboe – Joe Farrell

Recorded at Van Gelder Studios July 1, 2, 1970.


Amazon product ASIN B01H5JSZZU




 
Greetings from Alamosa! 🙋‍♂️

This is an interesting lineup of musicians. The rhythm section of Jack DeJohnette and Dave Holland worked together regularly, some of those dates ranging from many records made for ECM Records, and on DeJohnette's album Parallel Realities which featured Herbie Hancock and Pat Metheny. John McLaughlin, of course, became a leader in fusion with his guitar work. Farrell also knew Chick Corea from having participated on the first two Return To Forever albums, and Corea himself recorded for ECM (as did McLaughlin). The icing on the cake is that all except Farrell were part of Miles Davis's groups during the late 60s/early 70s, including BItches Brew.

I'll admit two things. First, for a Creed Taylor production, this album surprised me, as it is atypical of his style. Second, this album is almost a prototype for the free-wheeling style that ECM Records would become known for, and shares some similarities as well. ECM (Edition of Contemporary Music) was founded in 1969 and this record released in 1971, but ECM (like all new labels) took a couple of years to get up to speed in terms of its artist roster. ECM's releases over the past 54 years have largely been produced by Manfred Eicher, and also like CTI, the packaging and art also played a large role in the label's identity.

This is a solid album but won't be everyone's cup of tea. To me, its style is familiar as I also listen to quite a few of ECM's records. But for others, it might be a little too far into "free jazz" at times. "Follow Your Heart" and "Molten Glass" might be the only two tracks that are what one might call accessible. "Motion" on the other hand is a free-reined improvisation that would have fit an imaginary album Miles Davis, crossed with Ornette Coleman, might have recorded on ECM. I do enjoy DeJohnette's drum work throughout--I've always admired how he is so flexible in the number of styles he has on hand. He literally can play it all.
 
This is the first of a handful of CTI releases that would get a reissue a few years later, with different cover art and/or a different title. This was reissued later in the 6000 series, yet others in the coming weeks were reissued by Columbia in the 8000 series using modified cover art. I just realized this morning that the reissue above has an album cover with a photograph reminiscent of ECM Records, even imitating the style of naming the primary artist, album title, and the supporting musicians directly below it (although ECM always used a plain, clean Helvetica vs. the 70s typeface of the CTI reissue).
 
I picked this one up a few years back when I noticed Farrell's name was recurring on a few cherished late '60s Blue Note issues (Andrew Hill, Elvin Jones). Based on the Elvin Jones' Blue Notes from '68-'70, I'm glad to see that Farrell stepped out as a leader at that time.

Can't say enough good things about this release -- a timeless LP capturing the progressive-best of 1970.

It doesn't get much better than this, folks. A+
 
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