Distant Atmos Fear: Fragile Endurance
Sheep (7.1.2 Different Ones), Jazz Undercurrents, and Roundabout Perfection
I’m honored to have written the liner notes accompanying the Super Deluxe Edition of Yes’s Fragile, arriving on June 28th from Rhino Records. Fragile is receiving royal treatment—a hybrid 4CD/1LP/1Blu-Ray collection with new stereo, surround, and Atmos mixes, instrumental versions, alternate takes, and previously unreleased live material. The remix and remastering work on the discs was overseen by the talented Steven Wilson, while the vinyl was handled by the renowned Bernie Grundman. Fragile is Yes’s defining record that catapulted them to global superstardom—I'm proud of these liner notes and elated to have them included in this iconic album.
Preorder and pre-save here, and hear an alternate take of “Long Distance Runaround → The Fish” in the embedded video below:
Team Rhino calls the shots about revealing any additional details so I won’t intrude on their fun. That said, Yes fans are gonna Yes fan—the trainspotters, super-enthusiasts, and those with Roger Dean tattoos in strange places had questions and comments immediately. I don’t want to intrude on their speculation fun either, but I do have three quick corrections of misinformation before it spreads further:
The previously unreleased track “The Dean” is not what you might expect. It's not a spoken word piece or an interview. It’s music—I’ll leave it at that to maintain the element of surprise.
The three live tracks recorded at the Academy of Music on Feb 19, 1972, are NOT the same performances from Yessongs. Nor are they “AI-enhanced audience recordings,” as a couple of amateur A&R Yes fans have speculated. They are tied with the new Atmos mix as the highlights of this set (IMHO). NOBODY has heard them before, and the performances are stunning. I’m an avid collector of live Yes recordings; to the best of my knowledge, these do not circulate. They’re sourced from finished stereo mixes and sound MUCH better than anything on Yessongs. Or Progeny, for that matter. Yes fans who’ve been hoping to someday hear more live Yes from the Fragile tour with Bill Bruford on drums will be over the moon when they hear these tracks!
While this new edition duplicates some of the previously released rarities on the 2015 Panegyric Blu-Ray, plenty will be new to your ears. The new Atmos mix by Steven Wilson is a first—and it’s SPECTACULAR. I know Fragile like I know the back of my hand, yet I’m noticing things for the first time.
A few words on Atmos as it’s been top of mind this week between Fragile and the just-released Atmos mix of Pink Floyd’s Animals. I was privileged to attend last week’s world premiere of the Atmos mix of Pink Floyd’s Animals at New York’s Dolby 88 Screening Room. After a brief intro from Sony Music, we were shown a video produced by longtime Floyd creative partner and Hipgnosis co-founder Aubrey Powell about creating the Animals album and artwork. The video featured interviews with Dave, Roger, and Nick that seemed to be conducted within the last few years, interspersed with live footage from the Animals tour and archival film shot during the Animals sessions from Floyd’s Britannia Row studio. Then there was a fascinating, behind-the-scenes story of the album cover photo, including the infamous story of the inflatable pig breaking free of its mooring. This larger-than-life tale—including management hiring a sharpshooter who arrived too late to bring it down—preceded a modern look at Battersea Power Station and capturing a new set of imagery for the Animals 2018 remix and Blu-Ray Atmos release. Then, it was time for the main event, and Animals in Atmos did not disappoint. I’m a believer in Atmos. I enjoy immersive mixes that bring nuances forward with a minimum of gimmickry. I’m old enough to remember the early days of Photoshop and the over-enthusiastic application of filters and effects as creatives played with their new toys. Distracting surround mixes can easily fall into the same trap. I’m pleased to report that’s not the case here at all. James Guthrie did a superb job with Animals. Every member of the band benefits and the darkness of the record loses none of its grit within the expanded soundstage. If anything, the ferocity of the musicianship and bleakness of the lyrics sounded even more sinister.
I’m looking forward to firing it up at home via Blu-Ray and Apple Music to have this experience again. That’s easier than ever—Atmos support is available in Apple AirPods/AirPods Max and many soundbars, including the JBL 1300X we use here at Jazz and Coffee HQ. Earlier this month, LG upgraded their Smart TV Apple Music app to add Dolby Atmos compatibility. I encourage you to reconsider if you’ve got residual skepticism or bad experiences with the 5.1 surround systems that require a lot of expense, unsightly wires, and complexity. A more in-depth post about Atmos hardware, setup, and recommended music/mixes is in the works, but for now, the headphone experience will give you a solid flavor of what’s possible. Recommendations on gear, setup, and the best Atmos Music mixes to try will be included in my forthcoming post—stay tuned!
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Herbie Hancock Speak Like a Child
Herbie Hancock’s words from the liner notes are powerful and profound:
“I started thinking about that quality of innocence while writing this song. Clearly, this music doesn’t sound too much like what’s going on today—war, riots…and the reason it doesn’t, I realized, is that I’m optimistic. I believe in hope and peace, and love. It’s not that I’m blind to what’s going on, but I feel this music is a forward look into what could be a bright future. The philosophy represented in this number, and to a large extent in the album as a whole, is child-like. But not childish. By that, I mean there are certain elements of childhood we lose and wish we could have back—purity, spontaneity. When they do return to us, we’re at our best. So what I’m telling the world is: ‘Speak like a child. Think and feel in terms of hope and the possibilities of making ourselves less impure.’” —Herbie Hancock
Whether you were reading them in 1968 or you’re reading them now, they speak volumes. This newly reissued Blue Note Classics edition—a major sonic upgrade to my Music Matters 45RPM cut, and that’s saying something—is in heavy rotation today. Herbie’s teammates include Thad Jones-flugelhorn, Jerry Dodgion-alto flute, Peter Philips-bass trombone, Ron Carter-bass, and Mickey Roker-drums. Despite a formidable brass frontline, Herbie is the only soloist—the brass provides atmosphere, color, and texture. The music and arrangements are melodic and sincere, masking their depth and complexity. Speak Like A Child is a titular and musical statement: just as children have feelings and complex thoughts without a corresponding verbose vocabulary, a child’s straightforward ability to express those ideas can be wiser, more impactful, and more poignant than the many well-spoken adults. Two tracks here were initially written for Miles Davis: “Riot,” which appears on Nefertiti, and “The Sorcerer,” which appears on Sorcerer. Both are markedly different here and make for exciting listening. Need a dose of optimism in these trying times? Look no further, and listen up!
Spirits Rejoice
Props to Frederiksberg Records and Andreas Vingaard for continuing to wade fearlessly into the depths of obscurity to mine for gold—they’ve delivered once again. A few years back, I gave an enthusiastic thumbs-up to the reissue of Spirits Rejoice’s debut LP, African Spaces (Matsuli Music, 2021), a South African jazz/jazz-fusion rarity issued initially on Atlantic in 1977. This is their self-titled follow-up, released the following year on local label Jo’burg (though still distributed by WEA), and it’s a banger. Like their debut, Spirits Rejoice blends Afrocentric soul-jazz buoyed by ebullient horns and driving percussion. Some tracks veer into danceable, vocal-led, R&B-leaning material balanced by Fender Rhodes-powered instrumentals that’ll have you heading for the couch and reaching for an edible. In full disclosure, I’m a total sucker for these kinds of underground, jazzy, funky, fusion rarities, so I was primed to dig it (which Andreas knows, so when he reached out and asked if I wanted to hear it, he wasn’t REALLY asking a question). But if this was a throwaway, I’d have messaged him and said, “Thanks, but it’s not doing much for me.” It’s hard to do that when groovin’ across the living room floor. Sound, pressing, and excellent liner notes that give plenty of context/backstory round out a recommended package!
Music Inc./Charles Tolliver Live at Slugs’
Here’s wishing a happy heavenly birthday to Stanley Cowell, pianist in this incarnation of Music Inc., along with trumpeter and Strata-East label co-founder Charles Tolliver. Both volumes of Live at Slugs’ are express stops once my time machine is out of the shop. While the Spring of 1970 is a fertile time for live music in downtown NYC, I can’t imagine anything at the Fillmore East or one of the bigger venues is more intense or soul-stirring than the stirring explorations of this quartet. This recording draws you in with such realism that you’ll swear you’ll hear the chatter and smell the cigarette smoke from the next table. But before you can order a refill, your undivided attention is locked onto the tone of Tolliver’s trumpet. It’s not a call to arms but to understanding—tonight isn’t a blowing session. It’s about collectively making music for the soul and spirit as much as for the mind, and Music Inc. seeks to connect with everyone present on every level. Mr. Tolliver states the prime directive of Music Inc. clearly in both volumes of Live at Slugs’:
“MUSIC INC was created out of the desire to assemble men able to see the necessity for the survival of a heritage and an Art in the hopes that the sacrifices and high level of communication between them will eventually reach every soul.” —Charles Tolliver
Mr. Cowell’s sidelong “Orientale” highlights Vol. 1, though his playing is out of this world throughout both volumes. If you can find it, the Mosaic Select CD box has 40 additional minutes of music from these gigs. The Mosaic also sounds better than my vinyl, though, as you’ll note from the ringwear on the jacket, this album has seen a LOT of action over the years and is pretty worn, so perhaps that’s not a fair comparison. Regardless, Live at Slugs’ is an excellent celebration of Mr. Cowell, Mr. Tolliver, Strata-East, and the promise of music as a force for good to change the world. Someone wrote recently asking for more live records like Lee Morgan’s Live at the Lighthouse—this is the first album that came to mind.
Donald Byrd—Byrd’s Eye View
For all intents and purposes, it’s a Jazz Messengers album, though Byrd is in the Captain’s chair. I’ll echo all the high praise you’ve seen from others about this new Tone Poet edition. It has excellent sound and great playing, and I’ve never lusted for a mono cartridge more. I’m working one of those into the budget with the next turntable upgrade. I’ve been deep in Donald Byrd mode all week. The man’s accomplishments are awe-inspiring, recording over 50 albums as a leader, earning several graduate degrees, and establishing jazz studies programs at three different colleges. Of Byrd’s recordings, much of the focus is on his Blue Note period starting in the late 50s, so I’m pleased to see his earlier work getting a moment to shine—it’s excellent. I also want to point out Joe Gordon’s presence here, as he’s an under-acknowledged talent, and his records on Contemporary are all worth acquiring, too. Terrace liner notes as well! Donald Byrd-trumpet, Horace Silver-piano, Doug Watkins-bass, Joe Gordon-trumpet, Hank Mobley-tenor sac, Art Blakey-drums. Recorded Dec, 1955.
Red Garland Live!
Here’s wishing a heavenly birthday to pianist Red Garland, who’d be celebrating his 101st lap around the sun this month—huzzah! Red Garland Live! was recorded on 2 Oct 1959 at the Prelude Club in NYC and is one of a trio of records on Prestige/New Jazz documenting a great gig. Jimmy Rowser joins Garland on bass and Charlie “Specs” Wright on drums, and this (so far as I know) is their only recorded appearance. Red Garland Live! was released on vinyl back in the day, along with Satin Doll and Red Garland at the Prelude. Now, the entire show is available on a double CD, Red Garland Live at the Prelude, and is similarly available on streaming services. Garland swings and stretches, but his reputation remains intact—he’s not a technical player and rarely gets flashy. They work up a pretty good heat around Garland’s original “Bohemian Blues”—an album highlight that runs nearly ten minutes. The remainder of this LP is standards, which the trio rips into with plenty of energy, but it’s not a nervous pace. They don’t know or don’t care that they’re being recorded, so there’s no sense that anybody is “vibing for the cameras.” And how about this album cover? I don’t know if you’re supposed to look at it or lick it. If the latter, how long until it kicks in?
Bill Evans & Jim Hall Undercurrent
Bill Evans and Jim Hall’s Undercurrent is pure magic, and I’ve been meaning to write about this new Kevin Gray cut that Jackpot Records reissued a few months back. For an album this heavy, it’s nearly weightless. Also, Undercurrent sounds exactly like its cover photo. Some throw a little shade at this record for it falling short of the crystalline, pure audiophilia that its atmosphere suggests. While I agree some distortion and hiss gremlins rob this gem of achieving sonic perfection, the claims of its shortcomings have gotten too much oxygen. They’ve also gotten overblown—this music is so brilliant and lands with such impact that no recording flaws are powerful enough to break its spell. I love the sound of this pressing. For ~$30US, you can stop chasing the dragon unless that makes you happy. But I’m satisfied with this. If I had one complaint, this copy came out of the sleeve SO FILTHY I thought it had terrible acne—I’m talking cancel-the-date, “something suddenly came up,” Brady Bunch style bad acne. After manually removing obvious debris, it needed a double-double Humminguru cycle (not a secret menu option at the In ‘n Out—don’t try), which left the water visibly nasty. That said, it played clean afterward, and no pressing, recording, or tape source flaw ever intruded. Not even a little. This is Bill Evans trying to find his way after a hiatus. Bassist Scott LaFaro’s tragic death after the Village Vanguard/Waltz For Debby gigs sent Evans into a period of depression, seclusion, and deepening addiction. This duet with guitarist Hall was a step onto the healing road after staring into the abyss. Yes, it’s melancholy. But in acknowledging sadness, there is also hope, which makes this record inspiring. Four years later, they made another duet record, Intermodulation, which is excellent but not magic. So, it's recommended, but clean it first!