Head Jazz
(Label M)
As a species, the worst compilations sit barely a notch above tribute albums in the evolutionary chain. Many lack the imagination of a mix tape, and few labels jump through the legal hoops or spend the money needed to access a cohesive overview of a career or concept. Head Jazz‘s concept is as fuzzy as they come; an “hommage a Fellini et Magritte,” which presumably links the Belgian painter and Italian filmmaker by the trippier aspects of their work. (Magritte’s “The False Mirror” adorns the album’s cover, which apparently explains the use of French.) In terms of access, Label M, run by longtime Atlantic house producer Joel Dorn, has a real advantage. With the exception of their “A list” bestsellers, Dorn seems to own the keys to Atlantic’s jazz vaults. All 13 tracks spring from Sixties/Seventies Atlantic sessions, and are firmly in the grip of the times. The jazz/funk/rock fusion movement got a bad name due to its worst excesses, yet these are by-and-large well-chosen, obscure gems. You’ll recognize Ornette Coleman’s sublime blues on “Ramblin’,” but Eddie Harris’ echo-laden “Silver Cycles,” Roland Kirk’s Eastern edgy “Island Cry,” and the great bluesy “Catbird Seat” from the Mitchell-Ruff Trio might come as pleasant surprises. You have to admire this strange, scattershot collection for its uniqueness. Still, Jimmy Scott’s “Day by Day,” while terrific, is out of place. And Hubert Laws confirms why he boasts great selections of his records in used bins nationwide. As for the closer, a Yusef Lateef sax solo over a vocal choir, this was a truly bad idea back when Dorn recorded it in 1976. Nothing’s changed.
This article appears in August 31 • 2001.